CATALOGUE 


OP  THE 


Corcoran  Gallery  of  Art. 


Prepared  by  WILLIAM  MACLEOD,  Curator. 


37th  EDITION. 

[In  all,  81,000  copies.] 


WASHINGTON,  D.  C. 

1884. 


From  the  Library  of 
Frank  Simpson 


CATALOGUE 


OF  THE 


Paintings,  Statuary,  Casts,  Bronzes,  &c. 


OF  THE 


Corcoran  Gallery  of  Srt. 


“ When  from  the  sacred  garden  driven 
Man  fled  before  his  Maker’s  wrath, 

An  angel  left  her  place  in  heaven. 

And  cross’d  the  wanderer’s  sunless  path. 

’Twas  Art ! sweet  Art ! new  radiance  broke 
Where  her  light  foot  flew  o’er  the  ground, 

And  thus,  with  seraph  voice,  she  spoke : 

‘ The  curse  a blessing  shall  be  found ! ’ ” 

— Charles  Sprague. 


Prepared  by  WM.  MACLEOD,  Curator. 


GTBSON  BROTHERS,  PRINTERS 


INDEX. 


PAGE. 

History  and  Description  of  the  Corcoran  Gallery  of  Art 5 

First  Floor. 

Main  Vestibule — Japanese  Porcelain  Lacquered  Vases,  &c ft 

Eight  and  Left  Corridors — Busts  and  bas-reliefs  from  the  antique 10 

Vestibule  of  Sculpture  Hall — Vela’s  Last  Days  of  Napoleon 12 

Sketch  of  Greek  Sculpture 13 

Frieze  of  the  Parthenon  ; Casts  from  the  Elgin  Marbles 15 

Casts  from  the  Antique — Venus  of  Milo,  &c 18 

Casts  from  Modern  Sculpture — Kinehart’s  Clytie,  &c 28 

Casts  from  Sculpture  of  the  Kenaissance — Ghiberti  Gate;  M.  Angelo’s 

“David”  and  “Slaves,”  &c 29 

Hall  of  Bronzes — Hildersheim  Treasures,  Kensington  Museum  Reproductions, 

Majolica  ware,  Marble  busts 34 

Second  Floor. 

Main  Picture  Gallery 43, 

East  Side  Gallery 59 

West  Side  Gallery 61 

Southwest  Corner  Gallery — Rinehart’s  Sleeping  Children,  <tc 65 

Octagon  Room — Greek  Slave,  &c 66 

Southeast  Corner  Gallery — Rinehart’s  Endymion,  Forced  Prayer,  &c 67 


BOARD  OF  TRUSTEES. 


JAMES  C.  WELLING,  President. 

CHARLES  M MATTHEWS,  Vice-President. 
ANTHONY  HYDE,  Secretary. 

JAMES  C.  McGUIRE. 

WALTER  S.  COX. 

SPENCER  E.  BAIRD. 

EDWARD  CLARK. 

SAMUEL  H.  KAUFFMANN 
FREDERICK  B.  McGUIRE. 

COMMITTEES. 

On  Finance. 

Messrs.  HYDE,  BAIRD,  J.  C.  McGUIRE. 

On  the  Building. 

Messrs.  CLARK,  HYDE,  MATTHEWS. 

On  Works  of  Art. 

essrs.  KAUFFMANN,  CLARK,  F.  B.  McGUIRE. 

On  Legislation. 

M ESSRS.  MATTHEWS,  BAIRD,  WELLING. 

On  Accounts. 

Messrs.  MATTHEWS,  F.  B.  McGUIRE. 


Curator. 

WILLIAM  MACLEOD. 


Assistant  Curator  and  Librarian. 

F.  S.  BARBARIN. 


Janitor. 

B.  V.  DARRELL. 


Diagram  of  the  First  and  Second  Floors  of  the  Corcoran  Gallery  of  Art. 


ENTRANCE 


History  of  the  Corcoran  Gallery  of  Art. 


The  Corcoran  Gallery  of  Art,  including  ground,  building,  its  con- 
tents, and  endowment  fund,  is  the  free  gift  of  Air.  Wm.  AV.  Corcoran  to 
the  public.  In  his  own  words  to  the  Trustees  to  whom  the  property 
was  deeded  Alay  10,  1869,  “ it  was  designed  for  the  encouragement  of 
the  Fine  Arts and  in  the  deed  the  object  of  the  institution  is  stated 
as  “ the  perpetual  establishment  and  encouragement  of  Painting,  Sculp- 
ture, and  the  Fine  Arts  generally,”  with  the  condition  that  “ it  should 
be  open  to  visitors  without  charge  two  days  in  the  week,  and  on  other 
days  at  moderate  and  reasonable  charges,  to  be  applied  to  the  current 
expenses  of  procuring,  and  keeping  in  order  the  building  and  its  con- 
tents.” 

With  these  liberal  purposes,  the  institution  was  chartered  by  act  of 
Congress,  Alay  24,  1870.  By  that  act  the  building  was  declared  exempt 
from  all  taxation,  and  authority  given  to  settle  the  claim  for  rent  during 
its  occupancy  by  the  Government. 

The  building,  planned  by  Air.  James  Renwick,  of  New  York,  was 
begun  in  1859.  The  civil  war  arrested  the  work,  and  early  in  1861  the 
Government  took  it  for  the  use  of  the  Quartermaster-General’s  Depart- 
ment, retaining  it  until  four  years  after  the  close  of  the  war. 

On  the  10th  of  Alay,  1869,  it  was  restored  to  its  owner,  who  at  once 
placed  it  in  the  hands  of  a board  of  nine  Trustees,  as  already  stated. 
After  the  Institution  was  incorporated  by  Congress,  in  1870,  the  general 
work  of  reconstruction  and  adaptation  of  the  building  to  its  original 
purpose  was  begun,  and  after  much  delay  and  labor  finished  in  1871. 

On  the  22d  of  February,  1871,  Air.  Corcoran  generously  used  the  com- 
pleted building  for  a grand  ball  given  in  honor  of  the  day,  the  proceeds 
of  which  he  turned  over,  without  deducting  its  expenses,  to  the  fund  of 
the  Washington  Alonument  Society.  It  was  considered  one  of  the  most 
superb  festivals  ever  seen  in  this  country,  every  part  of  the  build- 
ing being  thrown  open  and  lighted.  In  1873  one  of  the  Trustees, 
Air.  Walters  of  Baltimore,  went  to  Europe  empowered  to  purchase 
works  of  art  for  the  Gallery,  and  Air.  Corcoran’s  private  collection  of 
pictures  and  statuary  was  then  placed  in  it.  On  November  6,  1873,  the 
Board  of  Trustees  completed  the  organization  of  the  Institution,  by 
electing  the  proper  officers  for  its  management  and  care. 

On  the  19th  of  January,  1874,  the  Picture  Galleries,  Octagon  Room, 
and  the  Hall  of  Bronzes  were  thrown  open  for  private  exhibition  by 
day  and  night.  At  this  brilliant  and  crowded  inauguration  of  the 
artistic  purposes  of  the  Institution,  Air.  Corcoran  received  the  congrat- 
ulations of  his  friends  upon  the  fulfilment  thus  far  of  his  munificent 
plans. 

On  April  29,  1874,  the  Halls  of  Sculpture  and  of  Bronzes  were  opened 


6 


6 


HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 


to  the  public,  and  in  December,  1874,  the  two  side  galleries  of  sculp- 
ture adjoining  the  Main  Hall ; so  that  all  the  rooms  of  the  Institution  for 
exhibition  purposes  were  then  opened  to  the  public — thus  realizing,  within 
one  year  from  the  time  of  its  first  opening,  the  munificent  founder’s 
“ hope  that  there  will  be  provided,  at  no  distant  day,  not  only  a pure  and 
refined  pleasure  for  residents  and  visitors  at  the  national  metropolis,  but 
something  useful  accomplished  in  the  development  of  American  genius.” 

Description  of  the  Building. 

The  building  stands  on  the  northeast  corner  of  Pennsylvania  avenue 
and  Seventeenth  street,  and  opposite  the  War  Department.  It  fronts 
on  the  avenue  106  feet  9 inches,  and  runs  back  125  feet  6 inches  on 
Seventeenth  street,  with  a vacant  lot,  27  feet  wide,  extending  across  its 
rear.  It  is  two  stories  in  height,  built  of  brick,  in  the  Renaissance  style, 
with  brown-stone  facings  and  ornaments,  and  a mansard  roof  rising  10 
feet  above  the  ordinary  one,  having  a large  central  pavilion  and  two 
smaller  ones  at  the  corners.  The  front  is  of  imposing  style,  divided  by 
pilasters,  with  capitals  of  the  Columbian  style  representing  Indian  corn, 
into  recesses,  four  stone  niches  for  statues,  with  trophies  and  wreaths  of 
foliage  finely  carved,  the  monogram  of  the  founder,  and  the  inscription, 
“ Dedicated  to  Art.” 

In  the  central  pediment  is  a large  bronze  medallion  profile  portrait  of 
Mr.  Corcoran,  with  decorations  of  foliage,  and  on  the  tops  of  the  two 
central  columns  are  bronze  groups  of  children  holding  garlands,  and  the 
emblems  of  architecture  and  music.  In  the  four  niches  in  front  are 
statues  of  Phidias,  Raphael,  Michael  Angelo,  and  Albert  Durer,  repre- 
senting the  sister  arts  of  Sculpture,  Painting,  Architecture,  and  Engrav- 
ing. In  the  niches  of  the  west  side  on  Seventeenth  street  are  statues 
of  Titian,  Da  Yinci,  Rubens,  Rembrandt,  Murillo,  Canova,  and  Craw- 
ford. These  eleven  statues,  of  Carrara  marble,  seven  feet  in  height,  were 
executed  by  M.  Ezekiel,  an  American  sculptor  in  Rome,  as  were  also  the 
bronze  medallion  of  Mr.  Corcoran  and  groups  of  children. 

The  entrance  is  from  Pennsylvania  avenue  into  a vestibule,  from  which 
rises  a noble  stairway  10  feet  wide  to  the  picture  galleries  in  the  second 
story.  On  the  right  of  the  entrance  are  a ladies’  apartment  and  the 
janitor’s  rooms.  On  the  left  is  the  Trustees’  room,  which  also  is  the 
office  of  the  Curator  and  Assistant.  This  room  is  not  open  to  the 
public.  The  dimensions  of  all  the  rooms  are  given  in  the  appended 
diagrams. 

On  each  side  of  the  stairway,  a corridor,  lighted  from  the  open  courts, 
leads  to  the  vestibule  of  the  Main  Hall  of  Sculpture,  with  which  the  ves- 
tibule communicates  through  three  arched  entrances.  This  fine  Hall,  95^x 
24^  feet,  is  lighted  by  seven  windows  on  the  north  side,  and  opens  into 
two  adjoining  galleries  of  sculpture  on  the  east  side  of  the  building.  On 
the  west  side  it  opens  into  the  Hall  of  Bronzes,  &c.,  61^x19  feet.  This 
last  also  communicates  with  the  Trustees’  room,  and  is  the  most  elegant 
room  in  the  building.  The  central  portion  of  the  ceiling,  panelled  and 
richly  decorated,  is  supported  by  four  Corinthian  columns,  with  gilt 
capitals.  It  is  lighted  by  three  windows  upon  Seventeenth  street,  and 
as  many  looking  into  the  open  court.  * The  height  of  this  story  is  20  feet. 


HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 


7 


The  Picture  galleries  are  in  the  second  story.  The  ascent  to  the  main 
gallery  is  remarkably  imposing.  The  stairway  leads  to  an  upper  land- 
ing, with  decorated  arched  ceiling,  and  Corinthian  pilasters  dividing  the 
arched  recesses  over  the  eight  windows,  and  with  spaces  between  ad- 
mirably adapted  for  statues  and  busts. 

The  Main  Picture  Gallery  is  95  feet  9 inches  by  44^  feet,  with  a height 
of  24  feet  to  the  cornice  of  the  arched  ceiling,  and  38  feet  to  the  inner 
sky  light.  The  wall  is  of  a warm  marroon  tint.  The  ceiling  is  richly 
frescoed  and  gilded.  The  scroll-work  decoration  is  in  the  Italian  style 
of  the  16th  century.  In  the  middle  of  the  panel  opposite  the  main  en- 
trance is  the  figure  of  Minerva,  and  in  the.  middle  of  the  other  panels 
the  muses  of  Sculpture,  Painting,  and  Architecture,  all  full  length.  Be- 
tween them  are  medallion-portraits  of  Giulio  Romano,  Titian,  Raphael, 
Rubens,  Van  Dyck,  Durer,  M.  Angelo,  Holbein,  Murillo,  Cranach, 
Teniers,  and  Da.  Vinci.  Between  the  brackets  of  the  cornice  are  the 
names  and  dates  of  forty-six  painters  of  different  countries  from  Cima- 
bue  to  Fortuny.  Names  of  living  artists  are  not  given.  This  dec- 
orative work  was  done  by  Mr.  Vincenzo  Stiepevich,  New  York.  All  of 
the  picture  galleries  are  lighted  from  the  roof.  This  is  the  only  one  of 
them  lighted  at  night  by  an  improved  electrical  apparatus  and  a range  of 
280  burners  on  a quadrangular  gas-pipe,  suspended  from  the  ceiling, 
about  the  height  of  the  cornice.  All  the  other  galleries  in  the  building 
have  chandeliers. 

On  the  east  and  west  sides  of  the  building  the  Main  Gallery  opens 
into  smaller  ones,  and  these  again  into  two  corner  galleries  in  the  front 
of  the  building.  Between  the  corner  galleries,  and  immediately  oppo- 
site the  entrance  to  the  Main  Gallery,  is  the  Octagon  Room.  It  has 
a sky-light,  but  is  chiefly  lighted  by  a south  window,  suitably  screened. 
The  wall  of  this  elegant  room  is  covered  with  marroon  paper,  that 
richly  relieves  the  choice  statuary  there — the  Greek  Slave  being  the  cen- 
tral ornament. 

All  the  galleries  communicate  by  high  arched  doorways  walnut- 
grained. The  floors  are  supported  by  brick  arches,  sprung  from  iron 
girders.  In  the  basement  are  spacious  and  dry  cellars,  not  only  for 
fuel,  but  for  the  heavy  boxes  containing  works  of  art,  which  are  there 
opened  and  prepared  for  exhibition.  The  building  is  heated  by  one 
furnace. 

The  cost  of  the  building  and  ground  was  $250,000.  Mr.  Corcoran’s 
collection  of  pictures  and  statuary  was  valued  at  $100,000.  The  Insti- 
tution is  maintained  by  an  endowment  fund  of  $900,000,  yielding  an 
annual  income  at  present  of  over  $70,000. 

The  Board  of  Trustees  is  composed  of  nine  members,  who  have  the 
power  to  fill  any  vacancies  in  their  number,  by  election. 

The  Board  holds  annual  meetings  on  the  second  Monday  of  January, 
when  an  election  of  officers  occurs,  and  annual  reports  are  received. 

The  Gallery  is  open  every  day,  (Sundays  and  the  Fourth  of  July  ex- 
cepted,) from  10  A.  M.  to  4 P.  M.,  from  October  1st  to  May  1st,  and 
from  9 A.  M.  to  4 P.  M.,  from  May  1st  to  October  1st.  On  other  pub- 
lic holidays  from  10  A.  M.  to  2 P.  M. 

On  Tuesdays,  Thursdays,  and  Saturdays,  admission  Free. 


8 


HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 


On  Mondays,  Wednesdays,  and  Fridays,  admission  25  cents. 

On  Mondays,  Wednesdays,  and  Fridays  persons  are  allowed,  under 
certain  regulations,  to  draw  from  the  casts  and  copy  the  pictures.  A gold 
medal  will  be  given  to  the  copyist  of  casts  making  the  most  improve- 
ment during  the  year. 

Children  under  six  years  of  age  will  not  be  admitted  to  the  Gallery, 
and  none  between  six  and  fourteen  years  will  be  admitted  unless  accom- 
panied by  a parent  or  guardian. 


Catalogue. 


(first  floor.) 


VESTIBULE. 


1,  2.  Japanese  “Arita”  Porcelain  Vases  Lacquered.*  8ftE8-in 

These  superb  examples  of  the  ceramic  art  of  Japan  are  larger  and  finer 
than  any  ever  made  at  Arita,  in  the  factory  of  T.  Tawara.  They  were  made 
expressly  for  the  Centennial  Exhibition,  where  they  were  conspicuous  for 
their  imposing  forms  and  richness  of  decoration.  Purchased  by  Mr.  Cor- 
coran. 

3.  Large  Bust  of  Ariadne.  ^ Marble.  Capitol  Museum. 

Often  called  the  Young  Bacchus  ; but  it  represents  Ariadne  as  the  joyous 
wife  of  the  God  of  Wine. 

4.  Bust  of  Antinous  as  Bacchus.  2^t- 

Marble,  in  the  British  Museum. 

The  original  of  this  fine  head  was  found  in  the  Villa  Pamfili,  with  some 
fragments  of  a wall-statue,  of  which  it  had  been  a part. 

5.  6,  7.  Bas-reliefs — Painting,  Sculpture,  and  Architecture. 

By  Butti.  185-. 

These  personifications  of  the  Fine  Arts  are  the  work  of  an  Italian  sculp- 
tor, who  designed  them  for  the  Capitol,  but  they  were  never  adopted. 

8.  Cast  of  a Bas-relief  of  Piicebus  and  the  Horses  of  the  Sun. 

h.  w. 

33  in.  x 6 ft.  7 in. 

From  a marble  block  of  triglyphs  with  metope  from  the  Temple  of 
Apollo,  found  in  1873,  by  Dr.  Scliliemann,  in  the  uppermost  of  the  five 
cities  on  the  site  of  Hissarlik.  Troy,  the  city  of  Homer’s  Iliad,  was  33  feet 
below  the  ruins  in  which  this  metope  was  found,  the  ruins  of  two  other 
cities  intervening.  The  work  and  the  city  in  which  it  was  discovered  were 
Greek,  the  colony,  called  New  Ilium,  being  founded  about  700  B.  C.  The 
metope  is  the  sole  specimen  of  high  art  found  in  any  of  the  ruins,  and  is 
assigned  to  the  time  of  Alexander  the  Great. 


* The  measurements  of  the  casts,  &c.,  have  been  made  with  care,  and  give  the  height  of  the 
statues  and  busts  exclusive  of  their  plaster  plinths  or  bases. 

9 


10 


ANTIQUE  SCULPTURE. 


RIGHT  CORRIDOR. 

9.  Cast  from  a Marble  Bas-relief  in  the  Museo  Bourbonico 
Naples. 

According  to  the  names  on  this  cast  it  represents  Antiopa  between  her 
sons,  Zethus  and  Amphion,  who  released  their  mother  from  cruel  bondage 
by  slaying  their  uncle  Lycus,  her  oppressor ; but  over  the  figures  of  the 
original  bas-relief  are  the  names  of  Hermes,  (Mercury,)  Eurydice,  and  Or- 
pheus, indicating  the  meeting  of  the  latter  with  his  lost  wife  in  the  realm  of 
Pluto. 

10.  Cast  of  a Fragment  of  a Winged  Figure  in  Marble  in  the 

Vatican. 

11.  Etruscan  Arm.  ^ Original,  in  bronze,  in  the  Vatican. 

Found  in  the  harbor  of  Civita  Vecchia  in  1835,  and  supposed  to  be  part 
of  a statue  of  Neptune. 

12.  Bust  of  Agrippa  de  Gabies.  Marble,  in  the  Louvre. 

The  celebrated  general  to  whom  Augustus  Caesar  was  indebted  for 
his  success  in  becoming  Emperor  of  Rome.  Agrippa  was  as  great  a hero 
on  sea  as  on  land,  and  it  is  conceded  that  the  battle  of  Actium  was  gained 
chiefly  by  his  skill.  Born  B.  C.  63.  Died  A.  D.  12. 

13.  Bust  of  Antinous.  Marble,  in  the  Louvre. 

A Bacchus-likc  character  is  imparted  to  this  head  by  the  wreath  of  ivy, 
but  still  it  has  the  air  of  sadness  associated  with  Antinous. 

14.  Bust  of  Antoninus  Pius.  Marble,  in  the  Vatican. 

Emperor  of  Rome,  and  celebrated  for  his  virtuous  reign,  A.  D.  138-161. 
The  original  was  found  by  Gavin  Hamilton,  in  Hadrian’s  villa. 

15.  Bust  of  Commodus.  Marble,  in  the  British  Museum. 

Emperor  of  Rome,  A.  D.  180-192.  Though  of  revolting  sensuality  and 
of  luxurious  habits,  his  personal  strength  and  courage  made  him  victor  in 
hundreds  of  gladiatorial  combats. 

16.  Bust  of  Caracalla.  Marble,  in  the  Louvre. 

Emperor  of  Rome,  and,  after  a wicked  reign  of  six  years,  was  assassi- 
nated, A.  D.  217.  His  ill-favored  features  declare  his  character.  He  car- 
ried his  head  on  one  side,  in  imitation  of  Alexander  the  Great. 

17.  Bust  of  Vitellius.  Marble,  in  the  Louvre. 

Born  A.  D.  15,  Aulus  Vitellius  was  one  of  the  worst  of  Rome’s  bad  em- 
perors. After  a reign  of  less  than  a year,  he  was  assassinated  and  his  body 
thrown  into  the  Tiber. 

18.  Head  of  Apollo.  Marble,  in  the  British  Museum. 

The  original  of  this  fine  head  was  once  in  the  Giustinani  collection,  at 
Rome,  and  was  bought  at  the  sale  of  the  Pourtales  collection  in  1865,  by 
the  British  Government  for  £2,000.  It  is  attributed  to  the  school  of  Ly- 
sippus. 

19.  Bust  of  Diana  di  Gabia.  Marble,  in  the  Louvre. 

Remarkable  for  the  graceful  pose  of  the  head,  and  its  serene  expression. 


ANTIQUE  SCULPTURE. 


11 


LEFT  CORRIDOR. 


20.  Cast  of  a Fragment  of  the  Marble  Frieze  of  Trajan’s  Fo- 

rum, Rome.  In  the  Vatican. 

A fine  blending  of  foliated  decoration  with  the  human  form,  represent- 
ing Cupid  springing  from  the  plant,  and  pouring  out  his  never  dying  flame. 

21,  22,  23.  Casts  of  Marble  Fragments  in  the  Vatican  : A Mask, 

a Hunter,  and  a Walking  Figure. 

24.  Bust  of  The  Crowned  Augustus,  (Caesar.)  Marble,  in  the 

Louvre. 

The  first  and  greatest  of  Rome’s  emperors  was  adopted  by  his  uncle, 
Julius  Caesar.  He  died  A.  D.  14,  in  his  76th  year,  after  a reign  of  forty- 
four  years,  marked  with  energy  and  ability  that  stamped  it  with  the  title 
of  the  Augustan  Age;  resplendent  in  arts,  science,  and  letters.  He  justly 
claimed  that  “he  had  found  Rome  of  brick,  and  left  it  of  marble.”  His 
character  is  displayed  in  this  bust.  The  head,  expanding  in  the  most  intel- 
lectual mould,  seems  made  for  a crown,  and  the  firm,  resolute  mouth 
shows  ability  to  rule  an  empire.  There  is  an  obvious  resemblance  between 
these  lines  of  character  and  those  of  Canova’s  Napoleon. 

25.  Bust  of  The  Young  Augustus,  (Caesar.)  Marble,  in  the  Vatican. 

The  original  is  considered  among  the  finest  of  antiques.  The  saying  that 
“ the  boy  is  father  to  the  man”  is  proved  in  comparing  its  facial  indications 
of  character  with  those  of  the  emperor  just  described.  There  are  the  same 
intense  expression  of  the  brow  and  compression  of  the  lips  of  one  born  to, 
and  fitted  for  empire,  which,  when  only  nineteen  years  old,  he  struggled  for 
successfully. 

26.  Bust  of  Scipio  Africanus.  Marble,  in  the  Vatican. 

This  great  Roman  general  foiled  Hannibal’s  advance  upon  Rome  by 
“carrying  the  war  into  Africa,”  and  having  defeated  him  in  the  decisive 
battle  of  Zama,  acquired  the  title  of  Africanus.  Born  about  241  B.  C.,  and 
died  in  his  fifty-seventh  year. 

27.  Marcus  Aurelius.  Marble,  in  the  Louvre. 

Found  at  Acqua  Traversa,  and  regarded  as  a good  likeness. 

28.  Bust  of  a Barbarian.  Marble,  in  the  British  Museum. 

The  original  of  this  cast,  so  full  of  savage  character,  was  found  in  Tra- 
jan’s Forum,  Rome,  where  many  similar  ones  were  discovered,  fastened  as 
trophies  to  the  walls. 

29.  Seneca.  Marble,  in  the  Louvre. 

This  philosopher  was  born  in  Spain,  and  became  preceptor  of  Nero,  who 
put  him  to  death  in  his  sixty-fourth  year. 

30.  Bust  of  Euripides.  Marble,  in  the  Vatican. 

This  eminent  tragic  poet  of  Greece  was  born  at  Salamis  on  the  day  when 
the  army  of  Xerxes  was  defeated.  Though  a woman-hater,  he  seems  to 
have  been  married  twice.  He  was  torn  to  pieces  by  dogs,  407  B.  C.,  in  his 
seventy-eighth  year. 

31.  Homer.  Marble,  in  the  British  Museum. 

The  original  of  this  bust  was  found  at  Bairn  in  1780.  There  are  many 
copies,  and  all  are  of  doubtful  authenticity  as  portraits. 

32.  Oast  of  a slab  from  the  Frieze  of  the  Parthenon. 

Original  (Elgin)  Marble.  British  Museum. 


12 


vela’s  last  days  of  NAPOLEON  I. 


VESTIBULE  OF  THE  SCULPTURE  HALL. 


Tiie  Last  Days  of  Napoleon  I. 


Height  of  Statue.  With  Pedestal.  L.  W. 

5 ft.  7 ft.  3 in.  4 ft.  8 In.  3 ft.  3 in. 

By  Vincenzo  Vela.  1871. 


This  sublime  statue  is  justly  considered  among  the  greatest  sculptural 
works  of  modern  times.  It  was  executed  for  Mr.  J.  Taylor  Johnston,  of 
New  York,  at  the  sale  of  whose  collection  it  was  bought  for  this  Gallery. 
It  is  a replica  of  the  statue  made  in  1866,  and  bought  by  Napoleon  III  from 
the  French  International  Exhibition  in  1867,  and  is  now  at  Versailles. 
There  is  some  difference  in  the  heads  of  the  two  statues,  but  none  changing 
the  character  and  sentiment  of  the  work.  Vela  is  a Swiss;  has  followed 
his  profession  in  Florence  and  Milan,  but  now  resides  at  Ligernetto,  Canton 
of  Tisson.  He  is  about  50  years  old,  and  a Republican. 

Napoleon  is  seated  in  a chair,  supported  by  a pillow;  a blanket  covers 
his  body  and  legs,  but  his  dressing-gown,  partly  open,  shows  his  massive 
but  wasted  chest.  His  right  hand  rests  languidly  on  an  arm  of  the  chair; 
his  left,  nervously  clutched,  rests  on  a map  of  “Europe  of  1814,”  spread  on 
his  lap — that,  Europe  whose  boundary  lines  he  had  so  often  altered  and 
obliterated.  His  head  droops  forward,  and  “ there  is  an  awful  speculation  ” 
in  the  glazed  depths  of  the  eyes  that  gaze  earnestly  from  beneath  the  classic 
brow,  as  though  peering  into  futurity.  An  indomitable  spirit  lives  in  the 
compressed  lips,  and  the  thin  nostrils  breathe  the  scorn  of  a conqueror, 
though  now  yielding  to  the  spell  of  the  last  conqueror— death.  Neither 
David’s  “ Crossing  the  Alps”  nor  De  la  Roche’s  “Fontainebleau,”  in  their 
personations  of  the  Successful  General  and  the  Fallen  Emperor,  stir  the 
heart  so  deeply  as  this  pathetic  image  of  the  dying  Imperial  Captive. 

“Though,  save  the  few  fond  friends,  and  imaged  face 
Of  that  fair  boy  his  sire  shall  ne’er  embrace; 

None  stand  by  his  low  bed;  though  even  the  mind 
Be  wavering,  which  long  awed  and  awes  mankind — 

Smile,  for  the  fetter’d  eagle  breaks  his  chain, 

And  higher  worlds  than  this  are  his  again !” 


Hall  of  Antique  Sculpture. 


1 1 If  any  man  be  sickly , troubled , or  cannot  sleep  for  grief,  and  shall  but  stand  over 
one  of  Phidias'  images,  he  will  forget  all  care,  or  whatever  else  may  molest  him,  in  an 
instant.  ” — Chrysostom. 

PRELIMINARY  NOTICE  OF  GREEK  SCULPTURE. 

The  Art  of  ancient  Greece  has  been  to  succeeding  ages  the  inspiring  source  of 
all  excellence  in  Sculpture  and  Architecture.  Greek  Painting  may  be  said  to  be 
almost  a mere  tradition,  for  though  lauded  by  historians  and  poets  we  have  few 
vestiges  of  it  beyond  vase-painting,  and  nothing  to  attest  the  skill  of  Apelles  or 
Zeuxis.  Not  so  with  the  sister  arts.  Enough  of  sculpture  and  architecture  exists 
to  prove  the  genius  of  Phidias  and  Ictinus.  We  have  not  only  well-preserved 
temples  and  statues,  but  even  shattered  fragments  suggest  their  perfect  glory  when 
entire,  and  furnish  models  to  artists  for  all  time.  Of  these,  the  sculpture  of  Greece 
is  her  noblest  legacy. 

As  Beule  justly  says,  “the  Greeks  did  not  invent  art  ; they  invented  beauty.” 
Deriving  from  Egypt  and  Asia  Minor  the  mechanical  and  technical  means  of  art, 
they  dropped  the  dogmas  prescribed  by  priests  and  rulers.  The  materials  first  used 
were,  successively,  wood,  bronze,  ivory,  with  gold,  (chryselephantine,)  and,  finally, 
marble  from  Paros,  one  of  the  Ionian  islands,  whence  came  the  verse  of  Homer, 
and  the  grace  and  beauty  of  Greek  sculpture. 

The  1st  Epoch  of  Greek  art  extended  from  Homeric  times  to  500  B.  C.  The  stiff 
formality  of  the  Egyptian  style  gradually  gave  way  to  naturalness,  constantly 
aspiring  to  something  above  outward  form.  About  515  B.  C.  arose  Ageladas  of 
Argos,  the  tutor  of  Myron,  Phidias,  and  Polycletus.  Between  500  and  480  B.  C. 
were  executed  the  great  groups  of  the  Temple  of  Minerva  at  Egina,  now  in  the 
Glypothek  at  Munich,  rivalling  the  works  of  the  Parthenon,  which  they  preceded 
by  some  forty  years.  This  epoch  closes  with  Calamis  and  Myron  of  Athens,  the 
last  of  whom  greatly  advanced  the  art  of  modelling  the  human  form  in  free  natural 
action. 

The  2d  Epoch  ushered  in  a new  ideal  style.  It  was  originated  by  Phidias 
of  Athens,  born  501  B.  C.,  who,  combining  the  vigor  of  the  Doric  school  with  the 
grace  of  the  Ionians,  represented  the  incidents  of  mythology  with  the  grandest 
types  of  the  human  form.  Before  his  time,  Beule  asserts,  there  was  “an  ideal  lower 
than  nature,”  but  now  Phidias  and  his  followers  aimed  at  “an  ideal  higher  than 
nature.”  The  condition  of  the  nation  favored  this  great  change.  Emerging  from 
the  influence  of  Orientalism  after  her  glorious  repulse  of  the  Persians,  470  B.  C., 
Gre  ece  rapidly  developed  the  vigor  and  splendor  of  her  native  genius  in  litera- 
ture, science,  philosophy,  and  the  arts.  In  sculpture,  a heroic  and  religious  sen- 
timent blended  with  her  perception  of  the  beautiful.  Casting  aside  the  ideal  mon- 
strosities of  Eastern  worship,  the  Greek  mind,  through  her  sculptors,  clad  its 
deities  with  the  form  of  man.  Their  habits  of  living  developed  their  bodies  into 
manly  vigor,  and  their  becoming  dress  gave  to  the  forms  of  their  gods  and  god- 
desses an  august  grandeur  and  grace  founded  upon  nature,  but  sublimated  by  the 
genius  of  the  sculptor.  Hence  it  was  said  that  “ Phidias  alone  had  seen  the  gods 
and  revealed  them  to  man.”  The  Parthenon  and  its  decorations  were  the  chief 
monuments  of  his  genius,  and  he  closed  his  career  with  his  sublime  statue  of  Jupiter 
at  Elis.  Athens,  with  her  tutelar  deity  Minerva,  became  the  centre  of  this  rare  Hel- 
lenic culture,  that  culminated  in  the  reign  of  Pericles,  about  400  B.  C.  Within  the 
space  of  this  second  epoch  (about  seventy  years)  budded,  blossomed,  and  began 
to  fade  what  many  consider  the  greatest  civilization  the  world  ever  beheld.  But, 
meanwhile,  another  school  competed  with  Athens  for  the  honors  of  sculpture. 
Polycletus  of  Argos,  a younger  contemporary  of  Phidias,  united  the  naturalness 
of  Myron  with  the  grand  repose  of  Phidias,  and  established  certain  exact  rules 
of  proportion  in  modelling  the  human  body  that  gained  him  the  name  of  Canon. 
He  was  the  first  to  make  a statue  rest  upon  one  foot,  with  the  other  drawn  back. 

13 


14 


HALL  OF  ANTIQUE  SCULPTURE. 


With  him  also  appeared  Nancydes,  his  pupil,  who  executed  a Discobulus,  in 
which  thought  was  blended  with  grace  of  form. 

3d  Epoch.  The  Peloponnesian  war  developed  new  phases  of  national  character 
that  powerfully  influenced  Greek  art.  The  solemn  grandeur  of  Phidias  gave  way 
to  the  eflects  of  excited  passions  of  states  opposed  to  each  other.  Great  monu- 
mental works  were  seldom  made,  and  private  commissions  succeeded.  Bronze, 
ivory,  and  gold  were  succeeded  generally  by  marble.  In  this  period  flourished 
Scopas  and  Praxiteles,  of  the  Attic  school,  who  infused  grace  and  beauty  into  the 
Phidian  style.  Soft,  mental  emotions,  and  gentle,  dreamy  repose  were  the  charac- 
teristics of  their  work.  The  more  vigorous  Argive  school  was  represented  by 
Lysippus,  who  followed  the  exact  rules  of  Polycletus,  and  gave  more  grace  and 
suppleness  to  the  forms  of  Athletes,  as  is  shown  in  his  Apoxyomenos.  At  the 
close  of  this  era  the  Attic  school  developed  portraiture  in  such  statues  as  the 
famous  one  of  Sophocles. 

The  4th  Epoch  extends  from  the  death  of  Alexander  to  the  conquest  of  Greece 
by  the  Romans,  B.  C.  146.  The  extension  of  the  Greeks  to  the  East  affected  the 
character  of  their  sculpture,  that  now  seemed  chiefly  devoted  to  the  service  of 
princes  and  the  demands  of  luxury.  In  this  era  arose  the  school  of  Rhodes, 
under  Chares,  pupil  of  Lysippus.  There  was  a tendency  to  colossal  statues,  and 
dramatic  subjects,  of  which  the  Laocoon  is  an  example.  The  school  of  Perga- 
mus  also  appeared,  devoted  chiefly  to  themes  of  battles  with  the  Gauls.  “The 
Dying  Gaul,  or  Gladiator,”  deficient  in  ideal  expression  or  harmony  of  form,  is  a 
product  of  this  school.  The  supremacy  of  Greek  art  rapidly  gave  way  after  the 
Roman  conquest,  when  the  freedom  and  the  arts  of  the  vanquished  nation  went 
to  Rome  to  grace  the  triumph  of  the  conqueror.  For  centuries  the  Greeks  fur- 
nished the  sculpture  of  Rome.  Yiardot  says:  “None  of  the  Roman  writers 
mention  the  name  of  a siugle  native  sculptor.”  It  took  centuries  to  infuse  into 
the  hard  practical  Latin,  disdainful  of  the  ideal,  the  skill  and  genius  for  that  style, 
and  even  the  Greco-Roman  sculpture  was  generally  of  an  inferior  form.  The  chief 
business  seemed  to  be  to  deify  Ctesars  and  execute  busts.  As  time  rolled  on  the 
art  was  debased  into  a system  of  manufacture.  It  became  a custom  to  make  statues 
of  emperors  and  statesmen  in  advance,  on  which  heads  were  placed  on  demand. 
There  were,  however,  intervals  of  better  things  ; for  between  Nerva  and  Hadrian 
the  imperial  sculptors  vied  with  the  Greeks.  Then  followed  the  disruption  of  the 
Roman  empire  by  internal  strife  and  external  foes;  the  outburst  of  Christianity, 
with  its  unsparing  destruction  of  Pagan  art;  until  under  the  death-shade  of  the 
Dark  Ages  the  ancient  treasures  of  art,  broken,  scattered,  and  hidden,  disappeared 
for  centuries.  From  this  entombment  suddenly  sprang  up  the  Renaissance, 
through  the  art  discoveries  of  the  fourteenth  and  succeeding  centuries.  Explora- 
tions unearthed  the  precious  relics  of  ancient  art,  and  the  study  of  them  soon 
gave  birth  to  that  galaxy  of  genius  whereof  Ghiberti,  Da  Yinci,  Angelo,  and 
Raphael  were  fixed  stars,  recalling  the  glory'  of  the  old  Greek  firmament. 

The  extent  of  these  unburied  treasures  seems  incredible.  According  to  Pliny, 
Rome  contained  more  statues  than  inhabitants.  The  Abbe  Barthelemy  asserts 
that  seventy  thousand  were  dug  out;  and  Pausanius  says  that  Nero  brought  five 
hundred  bronze  statues  from  the  Oracle  of  Apollo  at  Delphos. 

The  Corcoran  Gallery  of  Art  has  imported  authentic  casts  of  notable  examples 
of  Greek  and  Greco-Roman  sculpture  in  the  British  Museum,  and  the  galleries  of 
Paris,  Rome,  Florence,  and  Naples.  Examples  of  Mediaeval,  Gothic,  and  modern 
sculpture  are  secured,  so  as  to  afford  to  the  student  and  connoisseur  an  epitome 
of  plastic  art,  ancient  and  modern.  The  most  famous  of  these  casts  are  taken 
from  the  Elgin  Marbles,  brought  from  the  Parthenon,  at  Athens,  by  Lord  Elgin, 
1815,  and  afterwards  sold  to  the  British  Government  for  $175,000. 

THE  PARTHENON,  (Virgin’s  Chamber,)  a Doric  temple  of  white  marble,  was 
erected  438  B.  C.,  during  the  reign  of  Pericles,  in  honor  of  Minerva,  (Pallas 
Athene,)  the  tutular  deity  of  Athens.  Ictinus  was  the  architect,  but  Phidias  was 
the  Director  of  the  Public  Buildings,  and  decorated  this  famous  temple  with 
statues  and  bas-reliefs.  It  was  227  feet  long  and  101  feet  in  width,  with  8 pillars 
in  front  and  17  on  each  side.  The  height  of  these  columns  was  34  feet.  A statue 
of  Minerva,  40  feet  high,  made  by  Phidias,  of  ivory  and  gold,  (chryselephantine,) 
stood  in  one  of  the  inner  chambers  of  the  temple ; the  more  famous  statue  in  bronze 
of  the  goddess,  by  the  same  artist,  70  feet  high,  stood  outside  of  the  tentple,  tow- 


HALL  OF  ANTIQUE  SCULPTURE. 


15 


ering  over  all  the  buildings  of  the  Acropolis,  so  that  the  sheen  of  her  spear-point 
and  helmet  could  be  seen  by  the  mariner  afar  as  he  rounded  Cape  Sunium.  In 
later  days  the  Parthenon  was  turned  into  a church  of  the  Virgin.  It  resisted  time 
and  warfare  until  1687,  when,  while  in  possession  of  the  Turks,  it  was  besieged  by 
the  Venetians,  and  a bomb  alighting  upon  the  top  rent  and  scattered  its  superb 
form,  nearly  destroying  all  the  groups  of  figures  in  both  pediments  wrought  there 
by  Phidias. 

Fortunately,  the  French  artist,  Carrey,  had  visited  the  temple  in  1672,  fifteen 
years  before  the  bombardment,  and  made  careful  drawings  of  the  figures  of  both 
pediments.  They  were  accidentally  found  in  the  Royal  Library  at  Paris  in  1799, 
and  from  them  we  can  form  an  excellent  idea  of  the  character,  arrangement,  and 
grandeur  of  these  pediments  as  they  originally  stood.  In  the  “Antiquities  of 
Athens,”  by  Stuart  and  Revett,  may  be  found  engraved  copies  of  Carrey’s  inter- 
esting drawings. 

MAIN  SCULPTURE  HALL. 

1.  Frieze  of  tiie  Parthenon.  Elgin  Marble.  British  Museum. 

Around  the  cornice  of  the  Main  Hall  of  Sculpture  are  placed  194  feet 
of  casts  from  the  original  marble  slabs,  524  feet  in  length,  that  once  formed 
the  frieze  of  the  cella,  or  inner  temple  of  the  Parthenon  about  30  feet  from 
the  ground.  These  slabs  were  nearly  four  feet  square,  and  represented  in 
low  relief,  not  greater  than  three  and  a half  inches,  the  great  Panathenaic 
Procession,  a fSte  held  every  fifth  year  in  honor  of  Minerva.  At  the  head 
of  it  was  borne  aloft  the  sacred  Peplos,  or  garment  to  be  placed  on  the 
statue  of  the  Goddess  ; then  followed  virgins  with  offerings,  animals  for 
sacrifice,  chariots,  and  lastly  the  mounted  young  nobility  of  Athens. 

The  windows  of  the  north  wall  break  the  continuity  of  the  casts  of  this 
procession,  but  the  spectator  will  observe  there  the  seated  deities,  and  turn- 
ing to  the  right  will  see  on  the  east  wall  the  virgins  with  offerings.  Frag- 
mentary groups  of  the  sacrificial  oxen  and  of  charioteers  .follow,  but  the 
reliefs  on  the  south  and  west  walls  present  an  unbroken  line  of  the  young 
horsemen,  sweeping  along,  with  here  and  there  a dismounted  group  varying 
the  action  of  the  cavalcade.  This  last  section  of  the  reliefs  is  arranged 
precisely  as  the  originals  stood  in  the  Parthenon. 

Mutilated  as  these  reliefs  are,  it  is  impossible  not  to  feel  the  amazing  genius 
shown  in  the  endless  variety  of  attitudes  of  the  human  figures  and  of  the 
rushing  steeds,  which  last,  in  accordance  with  the  method  of  the  Greek 
sculptors,  when  represented  alongside  of  men,  are  much  smaller  than  is 
strictly  natural. 

Dr.  Lubkesays  of  this  procession:  “ They  present  every  grade,  from  sol- 
emn repose  to  ardent  action;  and  yet  there  is  a calm  festivity,  a breath  of 
eternal  cheerfulness  and  beauty,  diffused  over  them.  In  it  we  see  the  noble 
bloom  of  maidenhood,  the  fresh  strength  of  young  manhood,  and  the 
solemn  dignity  of  magistrates — a festive  procession  of  the  assembled  citi- 
zens of  Athens  passing  up  to  the  Citadel,  at  the  close  of  the  Panathenaic 
games,  to  present  to  Minerva  the  sacred  Peplos.”  We  can  imagine  the 
effect  of  such  a procession  ascending  the  Acropolis,  and  passing  along  its 
classic  fanes  of  Pentelican  marble,  under  the  bright  sky  of  Attica.  And 
yet,  in  spite  of  all  these  works,  here  and  in  other  cities  of  Greece,  Phidias 
fell  a victim  to  the  envy  of  his  enemies.  He  was  first  accused  of  purloining 
part  of  the  gold  used  in  the  colossal  statue  of  Minerva,  and  was  acquitted; 
but  because  he  placed  his  name,  with  that  of  his  patron  Pericles,  upon  the 
shield  of  the  goddess,  he  was  accused  of  profanity,  thrown  into  prison,  and 
died  there. 

The  engraving  on  page  17,  taken  from  Carrey’s  drawing,  shows  the  east  and 
west  pediments  of  the  Parthenon  as  they  stood  when  sketched  by  him  in 
1672,  and  the  arrangement  in  them  of  the  chief  figures  of  the  Elgin  Mar- 
bles, casts  of  which  are  described  below. 

'The  west  pediment  represented  the  contest  between  Neptune  and  Minerva 
for  the  possession  of  Attica.  Neptune,  by  a blow  of  his  trident,  caused  a 
horse  to  spring  from  the  rock;  but  Minerva  at  once  caused  the  peaceful 


16 


HALL  OF  ANTIQUE  SCULPTURE. 


olive  to  shoot  up,  and  was  declared  the  victor.  The  group  represented 
Neptune  striding  away  in  wrath,  while  the  goddess  mounts  her  car  in  tri- 
umph. The  sketch  will  show  the  principal  figures,  but  sadly  mutilated. 
In  the  left  angle  of  this  pediment  reclines  the  figure  of  Ilissus,  the  river-god. 

The  east  pediment  represented  the  birth  of  Minerva.  Its  central  portion 
vanished  centuries  since.  On  the  left  side  is  the  recumbent  figure  of  The- 
seus, and  on  the  right  the  group  of  the  Three  Fates.  In  the  left  extreme 
angle  are  the  Horses  of  Hyperion  (Day)  rising  from  the  sea,  typifying  the 
dawn  of  civilization  with  the  birth  of  Minerva,  and  in  the  opposite  angle 
the  Horse  of  Night,  descending,  emblematic  of  the  disappearance  of  igno- 
rance. Such  isThe  profound  meaning  of  these  groups  and  single  figures. 

2.  Tiieseus.  4 ft.  2%  in.  *5  it.- 9 in.  Elgin  Marble.  British  Museum. 

The  original  reclined  in  an  angle  of  the  east  pediment  of  the  Parthenon, 
and  represents  the  reputed  founder  of  Athens.  As  late  as  1672  the  left  foot 
had  not  disappeared,  nor  was  the  head  battered.  The  cast  faithfully  shows 
the  flakiness  caused  by  time  and  weather.  The  elaborate  finish  of  the  back 
part  of  this  and  other  figures  in  the  pediments  is  most  remarkable.  Placed 
at  a height  of  sixty  feet,  it  is  not  probable  that  human  eye  ever  beheld  those 
parts  near  the  wall  from  the  time  Phidias  raised  them  there  until  Lord 
Elgin  took  them  down,  and  in  view  of  this  needless  but  conscientious 
finish,  we  feel  the  force  of  the  reply  made  by  Phidias  to  one  who  asked 
why  he  took  such  pains  with  what  nobody  would  see — “The  gods  see 
them  !” 

3.  Ilissus.  2ft.fin.x  Gfuiin.  Elgin  Marble.  British  Museum. 

The  correct  name  of  this  figure,  that  stood  in  the  north  angle  of  the  west 
pediment  of  the  Parthenon,  is  Cephisus.  Both  are  names  of  streams  that 
supplied  Athens  with  water,  and  hence  the  Greek  mind  personified  them  as 
river-gods.  He  is  represented  as  raising  himself  from  a recumbent  posi- 
tion on  one  arm  to  listen  to  the  announcement  of  the  triumph  of  Minerva 
over  Neptune.  But  whether  Ilissus  or  Cephisus,  this  great  figure  and  the 
Theseus,  by  the  modelling  of  their  massive  chests,  the  lithe  curvature  of 
back  and  loins,  and  the  anatomical  knowledge  displayed  in  every  limb,  will 
forever  remain  unequalled  examples  of  heroic  sculpture. 

4.  The  Two  Fates.  4ft.u‘in.x7ft.7in.  Elgin  Marble.  British  Museum. 

This  cast  represents  two  of  the  three  sisters  (Parcse)  that  once  stood  in  the 
east  pediment,  and  sloping  towards  the  angle  opposite  Theseus.  In  Carrey’s 
drawing  the  entire  form  of  the  third  figure  is  seen  seated  beside  them,  and 
only  one  of  the  others  is  headless.  They  are  supposed  by  some  to  represent 
the  daughters  of  Cecrops.  Depending  upon  no  display  of  nude  charms, 
these  majestic  forms — particularly  the  recumbent  figure — impress  us  by  the 
noble  elegance  of  their  pose  and  the  graceful  lines  of  their  draperies. 

It  is  said  these  figures  furnished  the  French  painter  Couture  with  one  of 
the  most  striking  groups  in  his  picture  of  “ A Roman  Orgy.” 

5.  Head  of  a Horse  of  Hyperion,  (the  Sun.)  2ftH5-in 

Elgin  Marble.  British  Museum. 

The  original  stood  in  the  extreme  angle  of  the  pediment  of  the  Parthenon, 
representing  the  birth  of  Minerva,  and  in  this  steed  of  the  Sun  is  personified 
the  dawn  of  civilization  following  that  event,  while  the  retreating  shade  of 
barbarism  was  represented  in  the  head  of  the  Horse  of  Night  (No.  6)  in  the 
opposite  angle  of  the  pediment.  Though  wofully  battered,  there  remains 
enough  of  correct  modelling  and  spirited  action  in  them  to  show  the  hand 
of  a great  master. 

7.  The  Discobolus,  (Quoit-thrower.)  srt.wlm.  British  Museum. 

The  original  statue  was  executed  in  bronze  by  Myron  at  the  close  of  the 
first  period  of  Greek  sculpture,  about  470  B.  C.,  and  is  minutely  described 
by  Lucian  and  Quintillian.  The  discus  was  a round  flat  plate  of  metal  or 
stone,  about  ten  or  twelve  inches  in  diameter,  and  when  thrown  it  took 
a rotary  motion.  There  are  several  antique  copies  in  marble  of  this  figure, 


Horses  of  the  Sun. 


17 


PEDIMENTS  OF  THE  PARTHENON,  ATHENS. 


18 


HALL  OF  ANTIQUE  SCULPTURE. 


showiDg  the  head  reverted,  the  finest  of  which  is  in  the  Massimi  Palace, 
Rome.  The  copy  from  which  this  cast  is  taken  was  found  in  1791,  near 
Hadrian’s  Villa. 

8.  Discobolus.  sit.5j>in  Marble,  in  the  Vatican. 

The  original  of  this  cast  is  by  Naucydes,  pupil  of  Polycletus,  who  was  a 
pupil  of  Phidias,  and  consequently  the  work  is  worthy  of  its  age  and  author. 
The  head  is  supposed  not  to  have  formed  a part  of  the  original  figure — why, 
it  is  difficult  to  imagine  ; for  its  form  and  expression  seem  in  harmony  with 
the  action  of  the  body,  that  so  well  represents  arrested  purpose.  This  fine  ex- 
pression of  thoughtful  suspense  shows  the  superiority  of  the 'work  over  that  of 
Myron,  his  predecessor,  whose  Discobolus,  great  as  it  is,  merely  represents 
physical  activity.  The  fillet  round  the  head  was  the  badge  of  victory. 

1).  Venus  of  Melos.  g rt^tu  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  discovered  in  1820,  in  the  island  of  Milo, 
the  ancient  Melos,  by  a peasant,  while  digging  near  some  sepulchral  grottoes. 
The  earth  suddenly  gave  way,  and  this  Venus  was  found  in  a rocky  cave 
with  a Mercury  and  some  pedestals.  The  French  Consul  tried  to  buy  it, 
but  a cunning  monk,  in  disgrace  with  the  Sultan,  secured  it  as  a peace- 
offering to  the  Porte.  While  the  statue  was  on  its  way  to  a ship,  a French 
frigate  arrived  with  a secretary  of  the  French  embassy,  bearing  orders  to 
purchase  and  hurry  it  off.  A fight  occurred  over  it  between  the  French 
sailors  and  natives,  and  the  former  carried  off  the  prize.  The  peasant 
received  six  thousand  francs  for  this  invaluable  statue,  that  went  to  Paris 
as  a present  to  Charles  X.  It  now  stands  in  the  Louvre,  the  pride  of 
Paris,  and  the  admiration  of  the  world.  Its  sculptor  is  unknown, 
but  by  the  grandeur  of  its  style  it  is  justly  assigned  to  the  era 
between  Phidias  and  Praxiteles,  and  is  considered  the  greatest  statue  of 
woman’s  form  the  world  now  holds.  The  plinth,  the  left  foot,  the  tip  of  the 
nose,  and  a small  part  of  the  lips  are  the  only  parts  restored.  Parts  of  an  arm 
and  hand  also  were  found,  but  so  mutilated  that  though  casts  have  been  taken 
with  them  attached,  the  glorious  torso  is  declared  by  the  world  better  as  it 
is — the  fullness  of  what  is  left,  and  its  suggested  action,  being  more  satis- 
factory than  any  gue^s-work  from  an  uninspired  hand.  When  the  Germans 
besieged  Paris,  this  favorite  statue  was  boxed  and  buried  beyond  reach  of 
shot,  under  the  Prefecture  of  Police;  and  on  their  withdrawal  a new  foe — 
the  Commune — arose  and  burnt  the  Prefecture  to  the  ground,  to  the  dismay 
of  every  admirer  of  the  statue,  which  it  was  feared  was  turned  into  lime- 
dust.  On  searching  for  her,  it  was  found  a bursted  water-pipe  had  saved 
her — she  was  uninjured.  The  moisture,  however,  had  destroyed  the  cement 
at  the  junction  of  the  two  sections  at  her  waist,  and  in  it  were  discovered 
some  wooden  wedges,  which  had  for  fifty  years  given  to  the  upper  part  of 
the  figure  an  inclination  not  designed  by  the  sculptor.  These  were  removed, 
and  the  sections  closely  uniting,  it  is  said  a new  and  more  agreeable  posi- 
tion was  given  to  the  goddess. 

What  was  the  action  expressed  by  this  noble  figure  when  complete  ? 
There  is  nothing  of  the  ordinary  Cyprian  Venus  about  it.  From  every 
point  of  view  the  form  preserves  its  dignity  and  grace,  and  the  majestic 
head  and  face  are  full  of  serene,  earnest  thought.  Mr.  Ravaisson,  keeper 
of  the  Antiques  at  the  Louvre,  who  discovered  the  wedges,  and  restored 
the  statue  to  its  original  position,  thinks  it  probable  that  the  statue  is  part 
of  a group  of  Venus  and  Mars — “ Love  disarming  War  ” — woman  taking 
from  man  the  fiercer  traits  of  character;  and  he  has  made  a cast,  with  the 
arms  attached,  which  it  is  said  confirms  his  theory.  Then,  again,  it  is 
asserted  that  a small  bronze  copy  of  it  has  been  discovered  iu  Pompeii 
representing  her  as  looking  at  herself  in  a mirror  held  in  her  left  hand,  and 
therefore  the  outrageous  inference  is  drawn  by  some,  that  this  august  form 
was  once  engaged  in  such  an  act  of  coquetry  ! 

Mr.  Millingen,  a Dutch  antiquary,  thinks  it  a Victory  holding  a shield 
with  both  hands,  and  Mr.  Stillman,  a recent  critic,  contends  that  it  is  the 
Wingless  Victory  that  once  stood  in  the  Temple  of  NikcS-Apteros,  Athens, 
and  sent  to  Melos  at  the  time  of  a threatened  invasion. 


HALL  OF  ANTIQUE  SCULPTURE. 


19 


The  Venus  of  Capua  in  the  Museo  Bourbonico,  Naples,  is  like  the  Venus 
of  Melos  in  general  form,  but  has  the  head  bent  down  and  the  left  arm  and 
empty  hand  extended  towards  a Cupid,  who,  with  his  bow,  stands  before 
her.  It  is  believed  to  be  a modified  copy  of  the  latter. 

All  these  theories,  however,  are  set  at  naught,  and  the  action  of  the 
Venus  of  Melos  settled,  if  there  be  truth  in  the  following  evidence  of  its 
condition  when  found,  as  quoted  by  O’Shea,  in  his  “Galleries  of  the 
Louvre.”  The  eminent  traveller,  Dumont  D’Urville,  landed  from  the 
French  frigate  soon  after  its  discovery,  and  after  an  inspection,  says  in 
his  account  of  it  published  in  1821  : “ The  statue  was  in  two  parts,  and 
about  six  feet  high,  representing  a nude  female  whose  left  hand  {raised)  held 
an  apple , and  the  right  one  held  up  a tunic  falling  gracefully  from  the 
waist  to  the  feet.  However,  they  (the  hands)  were  mutilated  and  separated 
from  the  body.’’  An  officer  of  the  man-of-war,  writing  about  the  statue, 
says  : “ When  M.  D’Urville  and  myself  saw  the  statue  it  had  the  left  arm 
raised  in  the  air,  and  holding  in  its  hand  an  apple , and  the  right  arm  was 
broken  at  its  narrow  part — d la  saignee."  O’Shea  also  states  that  the  fore- 
arm and  hand  holding  the  apple  are  in  the  store-room  of  the  Louvre. 

This  contemporary  evidence  seems  to  prove  conclusively  that  the  statue 
is  a Venus  Victrix  in  the  contest  for  the  apple  with  Juno  and  Minerva. 
The  august  expression  of  her  face  and  form  may  be  explained  as  that  of  a 
proud  consciousness  that  even  thus  much  of  her  charms  were  more  than 
enough  to  prove  her  supreme  beauty — an  expression  and  attitude  showing 
neither  the  flutter  of  eager  expectation,  nor  doubt  of  the  result,  nor  vulgar 
triumph  over  her  rivals. 

10.  Venus  de  Medici.  ^ Marble,  in  Florence. 

Presented  by  J.  C.  McGuire,  Esq. 

This  excellent  cast  of  the  Goddess  of  Love,  though  somewhat  in- 
jured by  exposure  to  the  weather,  is  regarded  as  a perfect  copy,  its  ex- 
treme fidelity  having  carried  off  a prize  in  Italy.  The  original  stands  in 
the  Tribunal  of  tbeUffizi,  Florence.  It  was  found  in  the  15th  century  and 
carried  to  Venice  during  the  reign  of  Cosmo  di  Medicis — hence  its  name. 
When  found  it  was  in  thirteen  pieces,  and  without  arms.  These  were  sup- 
plied, but  it  is  supposed  by  many  that  the  position  of  the  original  arms  is 
not  given  in  the  substitutes.  It  was  executed  by  Cleomenes  of  Athens  at  a 
period  when  Greek  art  was  rapidly  declining.  Though  it  has  been  charac- 
terized as  “the  statue  that  enchants  the  world,”  there  is  no  famous  work 
of  sculpture  that  has  been  more  the  subject  of  diverse  criticism. 

11.  Venus  of  the  Capitol.  sftmiin. 

Marble,  in  the  Capitoline  Museum,  Rome. 

The  back  of  this  figure  is  particularly  fine.  The  vase  below  the  drapery 
is  a symbol  of  the  bath. 

12.  Ariadne  Deserted.  5 in.  6 n.'u%.  Marble,  in  the  Vatican. 

Ariadne,  daughter  of  Minos,  King  of  Crete,  was  married  to  Theseus,  who 
deserted  her  at  Naxos.  She  was  afterwards  loved  by  Bacchus,  and  mar- 
ried to  him.  This  supeb  recumbent  figure  was  once  supposed  to  represent 
Cleopatra,  but  the  learned  critic  Visconti  proved  that  the  asp  on  the  arm — 
the  supposed  proof  of  its  being  the  Queen  of  Egypt— was  only  an  armlet  of 
serpent-like  form.  For  three  centuries  it  adorned  a fountain  in  the  Vatican. 
It  now  stands  on  an  ancient  sarcophagus,  the  sides  of  which  represent,  in 
bas-reliefs,  giants  destroyed  by  thunderbolts.  Lubke  assigns  the  execution 
of  this  statue  to  the  period  of  Augustus  Caesar. 

13.  Euterpe.  j,?;t  Marble,  in  the  Louvre. 

The  Inventress  of  song  and  wind  instruments  is  here  crowned,  and  hold- 
ing a pipe  or  flute  in  each  hand.  Though  the  face  of  the  original  seems  to 
have  been  much  injured,  yet  its  pleasant  air,  easy  attitude,  and  graceful 
drapery  are  remarkable.  It  was  once  in  the  Villa  Borghese. 


20 


HALL  OF  ANTIQUE  SCULPTURE. 


14.  Diana  di  Gabia.  6 ftH5-in  Marble,  in  the  Louvre. 

This  statue  takes  its  name  from  the  place  where  it  was  found  in  1792.  It 
is  also  called  Atlanta  adjusting  her  robe.  This  is  perhaps  the  most  beautiful 
draped  statue  known.  In  point  of  maidenly  grace,  purity  of  expression, 
and  the  exquisite  lines  of  the  drapery,  it  has  no  equal. 

15.  Genius  of  the  Vatican.  33°in.  Marble,  in  the  Vatican. 

This  beautiful  work  was  found  at  Centieelli,  between  Rome  and  Palses- 
trina,  and  has  been  by  some  pronounced  an  Eros,  or  Cupid,  by  Praxiteles. 
It  represents  that  dreamy  state  when  the  form  is  passing  into  young  man- 
hood. 

1G.  Abundance,  oh  Plenty.  6tt®-in  Marble,  in  the  Vatican. 

One  of  the  noblest  draped  statues  antiquity  bas  left  us.  It  has  the  cor- 
nucopia in  the  left  hand,  while  the  right  holds  a rudder  resting  on  a globe, 
thus  indicating  Commerce  as  a source  of  Plenty. 

17.  Minerva.  Marble,  in  the  Vatican. 

This  imposing  statue  of  the  goddess  of  wisdom,  of  war,  and  all  liberal 
arts,  is  often  called  Minerva  Medica.  The  serpent  is  a special  attribute  of 
Minerva  as  an  emblem  of  wisdom.  The  griffin  is  also  sacred  to  her,  and 
appears  on  her  helmet.  In  surveying  the  austere  dignity  of  her  statue, 
there  seems  point  in  the  Greek  epigram,  “that  only  a cow-keeper  like 
Paris  could  have  preferred  Venus  to  Minerva!  ” 

18.  Genius  of  Eternal  Rest.  5ft^  in  Marble,  in  the  Louvre. 

The  original  of  this  impressive  cast  formerly  belonged  to  Cardinal  Ma- 
zarin.  It  is  a perfect  illustration  of  the  Greek  sentiment  that  always  ex- 
pressed death  with  types  of  beauty.  The  figure  leans  against  a pine  tree, 
the  resin  of  which  was  used  in  funeral  ceremonies.  The  left  leg  is  con- 
sidered perfect  in  design  and  delicate  contour. 

19.  Germanicus.  5 ft ^ii in  Marble,  in  the  Vatican. 

Germanicus  was  emperor  of  the  eastern  division  of  the  Roman  Empire, 
A.  D.  19,  and  celebrated  for  his  military  genius,  learning, and  benevolence. 
Some  consider  it  to  be  a statue  of  a Roman  orator,  in  the  character  of 
Mercury,  the  god  of  eloquence,  of  whom  the  tortoise  below  the  drapery  is 
an  emblem.  It  is  inscribed,  “Cleomenes,  son  of  Cleomenes,  made  this.  •’  The 
head  is  supposed  by  some  not  to  be  the  original  one.  The  statue  seems 
to  represent  the  mature  vigor  of  middle  age,  combining  strength  in  the  chest 
and  arms,  with  light  compactness  of  the  legs.  It  is  supported  by  a graceful 
fold  of  drapery,  instead  of  a heavy  tree-trunk,  thereby  leaving  in  full  outline 
the  contour  of  the  lower  limbs.  No  published  authority  seems  to  have  ex- 
plained the  action  of  the  right  arm  and  uplifted  hand,  holding  a small  sub- 
stance like  a bean.  It  is  supposed  that  the  figure  represents  some  solemn 
decision  by  the  vote  of  the  emperor. 

20.  Antinous,  of  the  Capitol.  snwk™  Marble,  in  the  Capitol. 

Antinous  was  a handsome  youth,  beloved  by  the  Emperor  Hadrian,  to 
whom  he  was  so  much  attached  that  he  drowned  himself  in  the  Nile 
to  save  his  imperial  master  from  the  death  foretold  to  him,  unless 
saved  by  such  a sacrifice.  Hadrian  immortalized  his  favorite  by  raising 
temples  and  statues  to  his  memory.  He  is  generally  represented  with  a pen- 
sive declination  of  his  head,  as  though  in  sad  foreboding  of  his  early  doom. 
This  statue  is  considered  a perfect  embodiment  of  young,  graceful  man- 
hood. 

21.  The  Fighting  Hero,  or  Gladiator.  Marble,  in  the  Louvre. 

H. 

5 ft.,  and  from  head  to  foot,  ft. 

This  most  spirited  of  all  statues,  ancient  or  modern,  was  found  on  the 


HALL  OF  ANTIQUE  SCULPTURE. 


21 


coast  near  Antium — very  near  the  spot  where,  a century  earlier,  the  Apollo 
Belvedere  was  found.  The  stem  supporting  it  is  inscribed  in  Greek  letters, 
“Agasias,  son  of  Dositheus,  the  Ephesian,  made  it,”  and  therefore  it  is  a 
specimen  of  Greek  sculpture  of  the  Fourth  Epoch,  that  ended  with  the 
Roman  conquest.  It  is  now  asserted  that  this  statue  does  not  represent  a 
gladiator,  but  a foot  soldier,  defending  himself  against  a horseman;  and  that 
gladiators  were  principally  slaves,  who  fought  with  more  or  less  armor. 
Viardot  insists  that  it  is  Greek,  and  represents  an  athlete  of  the  Hellenic 
games,  gladiators  not  being  known  to  that  people,  but  were  of  Roman 
origin.  Whatever  may  be  the  character  represented,  the  world  agrees  in 
the  perfection  of  its  bold,  energetic  style,  the  nervous  tension  of  the  whole 
body,  the  combined  readiness  for  attack  and  defence,  and  the  firm,  defiant 
brow. 

22.  Group  of  the  Laocoon.  Marble,  in  the  Vatican. 

H. 

0 ft.  K in.  to  top  of  head. 

This  magnificent  cast  was  made  from  the  original  in  the  Vatican,  and 
was  presented  to  George  the  Fourth.  The  original  work  belongs  to  the 
4th  epoch  of  Greek  sculpture  of  the  School  of  Rhodes,  and  in  merit  ranks 
in  the  second  class.  It  was  executed  by  three  sculptors — Agesandrus, 
Atheodorus,  and  Polydorus.  It  was  found  in  Rome  in  1506,  and  the  Pope 
ordered  a public  festival  in  honor  of  its  discovery.  According  to  Pliny, 
it  once  stood  in  the  palace  of  Titus.  Laocoon  was  a priest  of  Apollo,  and 
the  god,  being  offended,  sent  two  serpents,  that  killed  him  and  his  two 
sons  at  the  altar,  while  offering  sacrifice  to  Neptune. 

When  found  in  the  ruins  of  the  Baths  of  Titus,  the  right  arm  was  want- 
ing. One  in  terra  cotta,  by  Bernini,  was  substituted.  Michael  Angelo 
designed  one  in  marble,  but  never  finished  it.  Lubke  and  other  writers 
insist  that  the  right  arm  was  not  originally  in  the  position  given  to  it  by 
the  great  sculptor,  but  was  bent  down  behind  the  head,  which  was  thus 
supported  by  the  hand  in  that  moment  of  exhausted  agony.  This  position 
of  the  arm  is  often  given  in  engravings.  Lubke  thus  comments  upon  this 
famous  work:  “From  three  different  scenes  one  united  and  strictly  con- 
nected group  is  formed,  depicting  the  one  moment  of  utmost  suffering  and 
horror  petrified  with  fearful  truth,  and  the  whole  pathos  is  concentrated 
in  the  mighty  figure  of  the  father.  * * * Yet  we  see  nothing  here 

but  pure  physical  suffering.  The  impression  is  entirely  pathological,  for  no 
moral  idea,  no  tragic  conilict,  no  allusion  to  guilt  and  expiation,  meets  us; 
and  in  this  lies  the  barrier,  the  contrast,  between  it  and  the  Niobe,  and 
other  works  of  a former  age.  Nevertheless,  the  composition  and  the  exe- 
cution are  masterly,  and  worthy  of  admiration.” 

23.  Apoxyomenos.  efLs&in.  Marble,  in  the  Vatican. 

This  cast  represents  an  athlete  scraping  from  his  arm  with  the  strigil 
the  dust  of  the  arena.  Athletes  were  contestants  in  the  public  games,  and 
before  entering  the  arena  rubbed  their  naked  bodies  over  with  oil.  The 
victors  received  great  honors.  The  original  was  in  bronze,  and  executed 
by  Lysippus,  of  the  Argine  school.  He  was  the  leader  of  the  physical 
style  that  succeeded  the  grand,  solemn  manner  of  Phidias.  His  works  were 
numerous,  and  extended  to  the  time  of  Alexander  the  Great,  who  would 
allow  no  one  else  to  model  his  form.  He  was  fond  of  depicting  the  labors 
of  Hercules,  and  originated  the  style  in  which  that  demi-god  is  usually  rep- 
resented. Though  his  style  was  purely  physical  he  followed  the  rules  of 
Polycletus  carefully,  and  gave  a peculiar  grace  and  suppleness  to  his  figures. 
This  statue  is  considered  about  the  finest  example  of  his  work.  It  was 
found  near  Trastavere  in  1846.  Agrippa  had  placed  it  in  front  of  the 
Thermae,  near  the  Pantheon,  and  it  was  so  popular  that  when  Tiberius  at- 
tempted its  removal  to  his  own  residence,  the  people  rose  and  forbade  it. 

It  is  believed  that  the  five-spot  on  the  die  (tessera)  held  out  in  the  right 
hand  signifies  that  the  figure  came  out  fifth  in  the  contest. 


22 


HALL  OF  ANTIQUE  SCULPTURE. 


24.  Bust  of  Nero.  Marble,  in  the  Louvre. 

On  surveying  this  portrait  of  the  most  wicked  of  Rome’s  emperors,  the 
general  idiotic  mould  of  the  head  almost  disposes  one  to  think  that  Nero 
could  not  have  been  morally  responsible  for  his  cruelties,  in  spite  of  the 
cat-like  expression  of  the  eyes. 

25.  Ajax.  Marble,  in  the  British  Museum. 

This  bust  of  one  of  ihe  Greek  leaders  at  the  siege  of  Troy,  Diomede,  has 
been  erroneously  called  Ajax.  It  was  found  in  1771  by  Mr.  Gavin  Hamil- 
ton in  the  Pantinella,  Hadrian’s  Villa. 

26.  Silenus  AN'I)  Infant  Bacchus.  Gft.®in.  Marble,  in  the  Louvre. 

The  original  of  this  superb  cast  was  found  in  the  16lh  century,  in  the 
gardens  of  Sallust,  at  Rome.  The  hands,  half  of  the  right  forearm,  and 
right  toes  of  Silenus,  and  left  leg  of  Bacchus,  are  restorations.  Notwith- 
standing the  pointed  ears  and  rude  nose  of  the  Faun,  the  expression  of  his 
face  is  benevolently  human,  and  reflects  with  luminous  kindliness  the  smil- 
ing face  of  the  young  Bacchus.  The  legs  of  Silenus  are  considered  to  be 
of  remarkable  excellence,  and  the  close  observer  will  not  fail  to  perceive 
the  goat-like  sinewness  towards  the  back  of  the  ancles.  Silenus,  though  a 
sylvan  deity,  and  the  tutor  and  friend  of  Bacchus,  is  more  frequently  rep- 
resented as  a fat,  intoxicated  old  man,  crowned  with  ivy  and  flowers,  rid- 
ing on  an  ass. 

27.  Venus  Callipygos.  smVin.  Marble,  in  the  Naples  Museum. 

So  called  from  the  Greek  definition  of  its  peculiar  character.  It  was  once 
in  the  Farnese  Palace,  Rome.  Casts  of  it  are  in  great  demand.  The  back 
of  the  figure  is  particularly  admired.  It  is  said  that  the  head  and  the  right 
leg  below  the  knee  are  restorations. 

28.  Boy  with  Goose.  33“‘in.  Marble,  in  the  Vatican. 

Found  in  1789,  at  Civita  Vecchia,  Appian  Way.  It  is  thought  to  be 
copied  from  a bronze  work  by  Boetius,  of  Carthage.  Heads  of  the  child 
and  goose,  with  the  wing  tips,  are  restorations. 

29.  Youth  Supplicating.  4ft.%in.  Bronze,  at  Berlin. 

The  original  of  this  exquisite  statuette  is  said  to  have  been  found  in  the 
Tiber.  From  Clement  XI  it  passed  through  several  hands  to  the  King  of 
Prussia.  Right  hand  and  part  of  the  forearm  are  restorations. 

30.  Achilles  Borgiiese.  6ft®-jn  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  formerly  in  the  Villa  Borghese,  whence  its 
name.  Its  proper  name  is  doubtful,  as  the  figure  is  not  of  that  heroic 
mould  we  associate  with  the  Greek  hero,  in  spite  of  the  helmet,  the  lance 
once  held  in  his  right  hand,  and  the  anklet  supposed  to  guard  the  only 
vital  part  of  his  body.  Clarac  thought  it  a copy  of  a bronze  by  Alcamenes, 
favorite  pupil  of  Phidias.  Visconti  first  gave  it  the  name  of  Achilles,  but 
Winkelman  thinks  it  a statue  of  Mars,  and  that  the  ring  or  anklet  indicated 
the  custom  of  the  Spartans  of  chaining  up  the  God  of  War,  “that  he 
might  never  leave  them.” 

31.  Mercury.  G®-f  Marble,  in  the  Vatican. 

This  statue  was  once  called  Antinous,  but  Visconti  has  proved  it  to  be 
Mercury.  It  was  found  on  the  Esquiline  Hill,  near  the  baths  of  Titus. 
The  right  arm  and  left  hand  were  never  restored,  but  the  right  thigh  and 
both  lower  legs  are  modern.  The  lower  part  of  the  statue  is  notably 
inferior  to  the  bust  and  head,  which  show  a blended  strength  and  grace 
peculiar  to  the  works  of  Lysippus,  to  whom  Lubke  attributes  the  work. 


32.  - 


HALL  OP  ANTIQUE  SCULPTURE. 


23 


33.  Crouching  Venus.  art/sMin.  Marble,  in  the  Vatican. 

The  original  statuette  was  found  at  Salone,  on  the  road  from  Rome  to 
Palestrina.  The  left  hand,  right  forearm,  and  upper  part  of  the  head  are 
modern.  The  antique  base  found  with  it  is  inscribed  “ Bovpalos  made." 
It  is  said,  however,  that  sculptor  lived  in  an  earlier  age,  and  that  the  stat- 
uette is  supposed  to  be  by  Diedalus,  of  the  Argive  school.  It  is  mentioned 
by  Pliny  as  standing  in  the  porch  of  Octavia,  in  the  Temple  of  Jupiter,  at 
Rome. 

34.  Venus  at  the  Bath.  ^ Marble,  in  the  Louvre. 

Much  of  this  figure  is  of  modern  restoration.  It  is  supposed  to  be  a copy 
of  the  Venus  of  Polycharmes,  which  Pliny  says  was  taken  to  Rome  in  his 
time. 

35.  Bone-Player.  2 ln  Marble,  in  the  Louvre. 

The  original  of  this  beautiful  statue  was  found  at  Rome  in  730.  The  right 
hand,  neck,  and  left  shoulder,  are  modern.  The  game  of  Tali,  or  playing 
with  bones,  was  a favorite  one  with  the  ancients. 

3G  Colossal  Bust  of  .ZEsculapius.  21V  Marble,  in  British  Museum. 

^Esculapius  was  supposed  to  be  the  son  of  Apollo,  and  was  taught  medi- 
cine by  Chiron,  the  Centaur.  He  was  the  chief  medical  officer  to  the  famous 
Argonautic  expedition,  and  saved  so  many  lives  that  Pluto  induced  Jupiter 
to  destroy  him  with  a thunderbolt.  Divine  honors  were  paid  him.  The 
original  of  this  cast  was  found  in  the  island  of  Milo(Melos)  in  1828,  and  is 
conjectured  to  have  been  made  about  300  B.  C.  It  evidently  formed  part 
of  a statue,  and  is  of  the  true  Pliidian  grandeur  in  style. 

37.  Julia.  4ft  ^ln  Marble,  in  the  Vatican. 

The  original  of  this  statue  was  found  on  the  coast  of  Barbary,  at  Ben 
Ghuzi,  and  is  sometimes  called  A Young  Roman  Girl.  Julia  was  the  mother 
of  the  Emperor  Caracalla,  and,  after  his  decease,  through  grief,  starved 
herself  to  death.  It  is  interesting  as  a study  of  drapery,  and  gives  a correct 
idea  of  the  costume  of  that  age. 

38.  Demosthenes.  cit^'in  Marble,  in  the  Vatican. 

This  cast  is  from  the  finest  statue  known  of  the  greatest  Greek  orator, 
whose  denunciatory  speeches  against  Philip  of  Macedon  have  given  to  that 
species  of  oratory  the  name  of  philippic.  He  is  here  represented  as  in  the 
act  of  rolling  up  his  speech  at  the  close  of  an  oration.  Born  383  B.  C. 
Died  in  his  62d  year. 

39.  Sophocles.  6ft|bin  Marble,  in  the  Lateran  Rome. 

The  renowned  tragic  poet,  soldier,  and  statesman  of  Athens,  died  40G 
B.  C.,  in  his  91st  year,  from  exultation  over  one  of  his  prize  poems  read  at 
the  Olympian  Games.  This  statue  is  considered  an  unequalled  model  of 
dignity  and  manly  grace. 

40.  Aristides.  6>2Hfj  Marble,  in  the  Naples  Museum. 

Found  in  Herculaneum.  It  is  supposed  to  represent  Aristides  exhorting 
the  Spartans  to  resist  the  Persians  under  Mardonius.  Canova  is  said  to 
have  always  paused  before  it  when  entering  the  Museum.  Though  Aristides 
was  surnamed  “The  Just,”  on  account  of  his  virtues,  he  was  banished 
from  Athens.  Subsequently  recalled,  he  led  in  the  battles  of  Salamis  and 
Plataea,  but  dying  in  poverty  was  buried  at  the  public  expense. 

41.  Bust  of  Socrates.  Marble,  original  in  the  Louvre. 

The  ugliness  of  this  portrait  of  the  greatest  of  ancient  philosophers  was 
the  occasion  of  a noted  utterance  of  wisdom  from  him  ; for  when  a physi- 
ognomist said  his  features  declared  a nature  depraved  and  licentious, 
Socrates  restrained  his  disciples  from  killing  the  supposed  slanderer  by 
saying  his  assertions  were  true,  for  he  really  was  by  nature  all  he  was 
charged  with,  but  that  he  had  by  wisdom  subdued  and  kept  under  his 


24 


HALL  OF  ANTIQUE  SCULPTURE. 


vicious  passions.  He  was  also  brave  in  battle,  having  once  saved  the 
lives  of  his  pupils,  Xenophon  and  Alcibiades.  Notwithstanding  his  efforts 
to  enforce  virtue  and  temperance,  he  offended  the  authorities  of  Athens, 
and  was  condemned  to  death  by  drinking  hemlock  in  his  70th  year — 400  B.C. 

42.  Bust  of  Homer.  Marble,  in  the  Louvre. 

This  bust  is  very  like  the  one  in  the  British  Museum.  The  original  was 
found  inserted  in  a garden  wall  in  Rome. 

43.  Colossal  Bust  of  Jupiter.  32>?;ik  Marble,  in  the  Vatican. 

The  original  in  marble  of  this  grand  cast  is  in  the  Vatican,  and  was 
found  at  Otricoli,  40  miles  from  Rome.  There  are  several  copies,  and  all 
are  supposed  to  be  modelled  after  the  head  of  the  grand  statue  of  Jupiter, 
by  Phidias,  at  Elis,  and  which  stood  for  eight  hundred  years,  until  it  was 
destroyed  in  the  fifth  century  of  the  Christian  era.  The  grandeur  of  this 
head  of  the  king  of  gods  makes  one  exclaim,  “The  front  of  Jove  him- 
self ! ” 

“ He  spoke,  and  awful  bends  his  sable  brows, 

Shakes  his  ambrosial  curls,  and  gives  the  nod, 

The  stamp  of  fate,  and  sanction  of  the  god.” 

Lubke  says  of  it:  “The  mighty  locks,  raised  in  the  centre,  and  falling 
down  on  both  sides,  the  compressed  forehead,  with  the  bold,  arched  brows, 
from  under  which  the  large  eyes  seem  to  glance  over  the  universe,  the 
broad  projecting  nose,  express  energy  and  wisdom,  while  mild  benevolence 
rests  on  the  full,  parted  lips,  and  the  luxuriant  beard  and  rounded  cheeks 
show  sensual  power  and  imperishable  manly  beauty.”  We  can  imagine 
the  grandeur  of  the  original  statue  from  this  faint  shadow  of  it.  The  tra- 
dition is  that  when  Phidias  finished  it  he  prayed  for  a token  from  Jupiter 
whether  his  work  was  acceptable,  and  a flash  of  lightning  through  the  roof 
attested  the  Thunderer’s  approval. 

44.  Caryatid.  7ftH51n  Marble,  in  the  Vatican. 

The  original  of  this  imposing  columnar  figure  is  from  the  Pantheon  at 
Rome.  It  takes  its  name  from  Caryse,  in  Arcadia,  the  citizens  of  which 
aided  the  Persians,  and,  after  the  defeat  of  the  latter,  the  Greeks  severely 
punished  them  by  burning  their  cities,  killing  the  men,  and  carrying  off 
the  women  into  captivity.  To  perpetuate  the  record  of  their  being  enslaved, 
images  of  their  forms  were  used  to  support  temples  and  porticoes.  The 
figure  columns  of  men  were  called  Atlantes.  Many  of  these  columns  were 
brought  to  Rome  after  the  conquest  of  Greece. 

45.  Polyhymnia.  sitin' in.  Marble,  in  the  Louvre. 

The  muse  of  song  is  here  represented  leaning  upon  a rock  of  Helicon,  lis- 
tening to  the  melody  around  her.  The  statue  was  once  in  the  Villa  Bor- 
ghese.  Only  the  lower  half  is  said  to  be  antique,  the  remainder  being  re- 
stored by  Augustino  Penna  from  a bas-relief  on  a sarcophagus  in  the  Capi- 
tol. In  addition  to  its  air  of  listening  repose,  the  figure  is  an  admirable 
model  of  drapery. 

46.  Apollo  Sauroktonos,  (Lizard-Killer.)  4 rt.  10A  in. 

Marble,  in  the  Louvre. 

There  are  many  copies  of  the  original  in  bronze  by  Praxiteles,  3d  or 
Alexandrian  period.  The  young  god  is  divining  future  events  from  the 
twistings  of  the  lizard,  which  reptile  was  considered  by  the  ancients  a 
creature  of  presage.  In  this  work  Praxiteles  has  adopted  the  idea  first 
embodied  by  Polycletus,  of  making  his  statue  rest  upon  one  leg. 

47.  Flora.  5 ft.6^In  Marble,  Capitoline  Museum,  Rome. 

The  Roman  Goddess  of  Flowers,  and  by  its  graceful  drapery  a fit 
pendant  to  the  Diana  of  Gabie. 

48.  Pudicitia,  Goddess  of  Modesty.  6ftn’9in.  Marble,  in  the  Vatican. 

49.  Centaur  and  Cupid.  4ft.  in.  Marble,  in  the  Louvre. 

When  celebrating  the  battles  between  the  Lapithae  and  Centaurs  the 


HALL  OF  ANTIQUE  SCULPTURE. 


25 


Greek  sculptors  represented  the  latter  as  half  man  and  half  horse,  from 
their  always  being  mounted  on  horses. 

The  original  of  this  cast  was  found  at  Villa  Fonesca.  There  is  another 
in  the  Vatican,  and  it  is  doubtful  which  is  the  copy.  The  winged  figure 
is  thought  by  Viardot  to  be  a Bacchus,  and  not  Cupid,  as  he  has  an  ivy- 
wreath — showing  that  the  Centaur  is  under  the  effect  of  wine,  and  not 
of  love. 

50.  Daughter  of  Niobe.  „ Marble,  in  the  Vatican. 

o it.  b in. 

Niobe,  proud  of  her  seven  sons  and  seven  daughters,  taunted  Latonawith 
having  but  two  children,  Apollo  and  Diana.  The  latter  avenged  the  insult 
by  slaying  with  arrows  all  of  the  children  of  Niobe,  who,  overcome  with  grief, 
turned  to  stone.  The  story  simply  means  the  punishment  by  the  gods  of 
human  arrogance  over  good  fortune. 

This  cast,  headless  and  armless,  represents  one  of  the  daughters  of  Niobe 
fleeing  from  the  merciless  arrows  of  Diana,  and  is  considered  the  finest  of 
the  whole  group  of  fourteen  figures,  by  the  fine  portrayal  of  rapid  flight 
in  the  action  of  the  figure,  and  the  breezy  effect  of  the  drapery.  The  original 
group  was  brought  from  Asia  Minor  by  Sosius,  and  is  supposed  to  be  the 
work  of  either  Scopas  or  Praxiteles  in  the  third  period  of  Greek  art.  It  was 
found  in  Rome  in  1583.  Most  of  the  figures,  fourteen  in  number,  are  in 
Florence. 

51.  Faun  of  tiie  Capitol.  5ft^-.n  Marble,  Capitoline  Museum. 

The  original  was  found  at  Civita  Lavinia  in  1701,  and  is  supposed  to  have 
been  copied  from  the  bronze  statue  by  Praxiteles  called  Periboetos.  Fauns 
were  rustic  deities  with  pointed  ears  and  a small  tail,  supposed  to  inhabit 
the  woods,  and  embody  the  soft,  dreamy  influences  of  nature’s  sounds.  The 
character  of  a sensuous  sylvan  life  is  well  represented  in  the  smiling  repose 
of  this  figure.  This  beautiful  work  gave  to  Hawthorne  the  idea  of  his  story 
of  “The  Marble  Faun.” 


52. 


53. 


54. 


55. 


Faun,  with  Kid.  4ftH5-in_  Marble,  at  Madrid. 

The  springy  step  and  upward  turn  of  the  head  of  this  faun,  together 
with  the  struggling  kid,  make  a rustic  group  of  great  spirit. 

Faun,  a la  Tache.  Marble,  in  the  Louvre. 


This  bust  of  a laughing  Faun  takes  its  French  designation  from  a spot  or 
stain  on  the  right  cheek  and  shoulder  of  the  original  marble. 

Athlete  Pouring  Oil  into  iiis  Hand.  V 

4ft.  9 M in. 

Taken  from  the  original,  in  marble,  in  the  Louvre,  and  represents  an 
athlete  preparing  for  a contest  in  the  public  games.  It  is  said  that  the 
head,  though  antique,  did  not  belong  to  this  statue.  The  left  lower  leg, 
right  arm,  and  parts  of  the  feet  are  modern. 


Dying  Gaul  or  Gladiator. 


h.  L. 

23  in.  x 5 ft.  11  in. 


Marble,  in  the  Capitoline  Museum,  Rome. 


Like  the  Fighting  Hero,  this  famous  statue  is  no  longer  considered  by 
critics  to  represent  a gladiator,  but  a savage  Gaul,  who  has  stabbed  himself  to 
avoid  captivity,  and  fallen  upon  his  shield,  his  sword  lying  beside  him. 
The  rough  suit  of  hair,  the  rugged  figure,  and  knotty  joints  are  submitted 
as  proofs  of  this.  It  is  supposed  to  be  a copy  of  the  bronze  figure,  by  Cte- 
silaus,  of  the  School  of  Pergamus,  246  B.  C.,  who  chiefly  represented  bat- 
tles with  the  Gauls  that  invaded  Asia  Minor.  It  is  also  said  that  it  repre- 
sents a Greek  herald,  with  his  horn  lying  beside  him  upon  the  oval  shield. 
However  satisfactory  these  views  may  he  to  the  learned  critics,  the  world 
at  large  agrees  with  Byron,  who  saw  before  him — 

“A  gladiator  lie  : 

He  leans  upon  his  hand;  his  manly  brow 
Consents  to  death,  but  conquers  agony, 

And  his  droop’d  head  sinks  gradually  low, 

And  through  his  side  the  last  drops,  ebbing  slow 


20 


HALL  OF  ANTIQUE  SCULPTURE. 


From  the  red  gash,  fall  heavy,  one  by  one, 

Like  the  first  of  a thunder  shower;  and  now 
The  arena  swims  around  him.  He  is  gone 

Ere  ceased  the  inhuman  shout  that  hailed  the  wretch  who  won!” 

56.  Venus  Anadyojiene.  4 rejoin.  Marble,  in  the  Vatican. 

The  title  of  this  beautiful  Venus  signifies  coming  from  the  sea , and  the 
goddess  is  represented  nude  to  the  waist,  wringing  the  water  from  her 
locks.  It  was  thought  by  Visconti  to  have  been  copied  from  a painting  by 
Apelles,  and  a bronze  statue  found  at  Herculaneum  in  the  Naples  Museum 
resembles  it. 

57.  Mercury  in  Repose.  3itHu’in  Museum,  Naples. 

The  original  in  bronze  of  this  cast  is  classed  among  the  finest  of  ancient 
date,  and  was  found  in  Herculaneum  in  1758.  Its  base  is  the  only  modern 
part.  The  left  hand  is  supposed  to  have  held  the  caduceus.  Mercury  was 
the  messenger  of  the  gods,  and  guarded  the  fortunes  of  shepherds,  travel- 
lers, merchants,  orators,  and  also  of  thieves.  He  was  supposed  to  wear  a 
winged  cap,  and  also  wings  attached  to  his  sandals.  In  this  statue  the 
bosses  of  these  last  under  his  feet  would  naturally  prevent  standing.  He 
invented  the  lyre,  and  gave  it  to  Apollo  in  exchange  for  the  caduceus,  or 
winged  stall.  He  is  generally  represented  nude  and  youthful.  In  the 
grace  and  naturalness  of  this  statue  Lubke  recognizes  the  style  of  Lysippus. 

58.  Apollo  Belvedere.  7rtHi'in  Marble,  in  the  Vatican. 

The  original  of  this  very  popular  statue  was  discovered  at  Capo 
d’Anzo  (Antium)  early  in  the  16th  century,  and  placed  by  Michael 
Angelo  in  the  Belvedere  Gallery,  Rome,  whence  its  name.  The  name  of  its 
sculptor  is  unknown.  Its  date  is  placed  at  B.  C.  279.  Canova  and  Visconti 
think  it  is  a copy  from  an  ancient  bronze  by  Calamus.  The  arms  below 
the  elbow  and  part  of  the  cloak  were  restored  by  Montorsolvo,  pupil  of 
Michael  Angelo.  Undoubtedly  many  copies  of  the  original  were  made, 
and  a bronze  copy  discovered  in  1792  at  Paramythia,  and  now  at  St.  Peters- 
burg!), in  the  judgment  of  some  has  changed  entirely  the  meaning  of  the 
action  of  the  figure.  Apollo  is  here  represented  as  holding  a bow  and  dis- 
charging an  arrow  at  the  serpent  Python,  sent  by  Juno  to  destroy  his  mother, 
Latona.  In  the  bronze  statuette  referred  to,  there  is  no  tree  trunk,  (neces- 
sary to  support  a figure  in  marble,)  but  the  left  hand  holds  a shield  bearing 
the  head  of  Medusa,  supposed  to  turn  all  gazers  into  stone,  and  which 
Homer,  in  the  Iliad,  xv,  318,  says  Jupiter  lent  to  Apollo.  Dr.  Lubke  ac- 
cepts this  explanation  of  the  action  of  the  figure,  and  says  “not  until  now 
have  we  understood  the  statue.”  In  either  case  the  action  cf  the  figure  is 
full  of  divine  scorn,  as  with  elastic  step  forward  the  proud  head  turns 
towards  the  object  of  his  wrath.  Winkelman  says:  “To  realize  its  merits, 
the  mind  must  soar  to  the  realm  of  incorporeal  beauty  and  imagine  a celes- 
tial nature,  for  there  is  nothing  mortal  here.”  Thomas  Campbell,  the 
poet,  has  finely  said  in  prose:  “ He  looks  as  if  he  had  just  stepped  from  the 
sun — his  limbs  saturated  with  light,  and  buoyant  with  the  spirit  of  Heaven !” 

In  spite  of  all  attempts  of  critics  to  explain  away  the  time-honored  im- 
pression of  what  this  glorious  figure  is  doing,  the  world  will  ever  take 
Byron’s  description  as  the  true  one,  and  view  him  as — 

— “ The  Lord  of  the  unerring  bow, 

The  God  of  life,  and  poesy  and  light — 

The  Sun  in  human  limbs  arrayed,  and  brow 
All  radiant  from  his  triumph  in  the  fight: 

The  shaft  has  just  been  shot — the  arrow  bright 
With  an  immortal’s  vengeance  ; in  his  eye 
And  nostril  beautiful  disdain,  and  might 
And  majesty,  flash  their  full  lightnings  by, 

Developing  in  that  one  glance  the  deity  !” 

59.  Colossal  Mask  of  Juno.  31.tH3-in 

This  superb  head  is  from  the  copy,  in  marble,  in  the  Villa  Ludovisi, 


HALL  OF  ANTIQUE  SCULPTURE. 


27 


Rome,  of  the  original  statue  by  Polycletus,  the  Argive  sculptor,  about  423 
B.  C.  Nothing  can  he  finer  than  its  truly  regal  character,  where  the  soft 
dignity  of  the  woman  blends  with  and  tempers  the  severity  of  the  queen 
who  could  restrain  even  Jupiter  himself.  When  Goethe  first  saw  this  head 
he  exclaimed  : “ It  is  like  a verse  of  Homer!  ” 

60.  Meleager.  6ft  J^in.  Marble,  in  the  Vatican. 

The  original  of  this  fine  heroic  figure  was  found  in  Rome,  and  is  sup- 
posed to  be  of  the  time  of  Hadrian,  A.  D.  76-130.  Meleager  was  a famous 
hero  of  antiquity,  and  one  of  the  chiefs  of  the  Argonautic  expedition. 
The  hound  and  boar’s  head  signify  his  great  exploit  of  slaying  a boar  that 
ravaged  his  father’s  dominions.  The  left  forearm  was  never  restored. 

61.  Bust  of  Menelaxts.  3h,;.  Marble,  in  the  Vatican. 

The  original  of  this  grand  bust,  so  full  of  martial  character,  was  found  at 
Hadrian’s  Villa  Tivoli,  and  is  commonly,  but  erroneously,  known  as  Ajax. 
Visconti  satisfactorily  proved  it  to  be  Menelaus.  Bas-reliefs  of  Hercules 
fighting  with  Centaurs  are  on  the  helmet. 

62.  Bei  jVedeue  Torso.  4ft^in.  Marble,  in  the  Vatican. 

The  original  of  this  famous  torso  was  found  near  the  end  of  the  15th  cen- 
tury, at  Pompey’s  Theatre.  It  represents  Hercules  in  repose,  and  from  an 
inscription  on  its  base  it  was  made  by  Appollonius,  son  of  Nestor,  Athens, 
It  was  ever  a favorite  study  with  Michael  Angelo,  and  doubtless  the 
inspiring  source  of  much  of  his  grand  modelling,  and  it  is  said  that  in  his 
dim  old  age  lie  was  often  seen  tracing  with  trembling  hands  the  mighty 
mass. 

63.  Jason.  5 ftV2-in  Original,  Marble,  in  the  Louvre. 

This  statue  has  been  called  Mercury  and  Cincinnatus,  but  is  now  con- 
sidered to  represent  the  famous  leader  of  the  Argonauts,  hurriedly  tying  on 
but  one  sandal  in  his  haste  to  seek  his  uncle  Pelias,  usurper  of  his  father’s 
throne,  and  who  had  been  warned  by  an  oracle  to  beware  of  the  “ one-san- 
dalled  man.” 

The  work  is  obviously  of  the  same  style  of  the  Fighting  Gladiator,  show- 
ing similar  muscular  spareness  of  form,  small  head,  and  short  hair.  It  is 
of  the  Alexandrian  or  third  era  of  Greek  sculpture.  It  once  stood  in  the 
Villa  Negroni,  was  bought  with  the  Germanicus  by  Louis  XIV,  and  placed 
at  Versailles. 

64.  Iris.  5ftH3'in.  Original  (Elgin)  Marble,  in  the  British  Museum. 

The  original  of  this  statue  (by  Phidias)  of  the  Messenger  of  the  Gods 
once  stood  in  the  east  pediment  of  the  Parthenon,  at  Athens,  as  announcing 
the  birth  of  Minerva.  Though  mutilated  by  time  and  war,  the  observant 
student  of  Greek  sculpture  will  see  in  these  remains  of  its  broad,  massive 
treatment,  a contrast  with  the  greater  grace  and  more  elaborate  detail  of  the 
succeeding  third  epoch,  as  shown  in  the  Daughter  of  Niobe,  by  Scopas. 

65.  Bust  of  Pericles.  Marble,  in  the  British  Museum. 

Pericles  was  of  noble  birth,  a man  of  letters,  warrior,  statesman,  and  lib- 
eral patron  of  art.  Under  his  rule,  Athens  eclipsed  all  other  cities  of  Greece 
by  her  achievements  in  arms,  sculpture,  architecture,  and  the  drama. 

His  busts  and  statues  always  represented  him  with  a helmet,  owing  to 
the  odd  shape  of  his  head,  which  gained  him  from  his  enemies  the  nick- 
name of  “ onion  headed.”  Born  499-429  B.  C. 

66.  Bust  of  Periander.  Marble,  in  the  British  Museum. 

One  of  the  Seven  Sages  of  Greece. 

67.  Bust  of  Julius  (Lesar.  Marble,  in  the  British  Museum. 

Decision  of  character  is  in  every  line  of  this  head  of  Rome’s  great  Dictator, 
assassinated  in  the  Senate  House,  B.  C.  44,  in  his  50th  year. 


28 


HALL  OF  ANTIQUE  SCULPTURE. 


G8.  Boy  Extracting  a Thorn  from  His  Foot. 

Original  in  Bronze.  Capitol,  Rome. 

Said  to  have  been  found  in  the  Tiber.  Of  the  best  period  of  Greek  art. 

C9.  Head  of  Alexander  the  Great.  Marble,  in  the  British  Museum. 

70.  Head  of  Diogenes.  Marble,  in  the  British  Museum. 

The  famous  Cynic  philosopher  died  in  his  90th  year,  fifth  century  B.  C. 

71.  Bust  of  Dione.  Marble,  in  the  British  Museum. 

Daughter  of  Nereus  and  Doris,  and  mother  of  Yenus.  It  it  not  known 
where and  when  the  original  was  discovered.  The  head  is  considered  of 
the  finest  period  of  art. 

72.  Bust  of  Clytie.  Marble,  in  the  British  Museum. 

The  artist  is  unknown.  Clytie  was  enamored  of  Apollo,  and  followed  him 
devotedly,  like  the  sunflower,  and  this  idea  is  represented  in  the  leaves  of 
that  flower  from  which  her  bosom  rises,  while  the  delicate  pensiveness  of 
the  head  completes  the  sentiment. 

73.  Bust  of  Septimtus  Severus.  Marble,  in  the  British  Museum. 

Emperor  of  Rome  A.  D.  193-211.  lie  built  the  wall  across  Great  Britain 
to  repel  the  Caledonians. 

74.  Bust  of  Trajan.  Marble,  in  the  British  Museum. 

Emperor  of  Rome  A.  D.  98-117,  and  celebrated  for  his  virtuous  and 
humane  character,  as  well  as  for  his  military  genius.  The  original  of  this 
bust  was  found  in  the  Campagna  of  Rome  in  1776. 

75.  Bust  of  Isis.  Marble,  in  the  British  Museum. 

The  Egyptian  goddess,  with  the  lotus  flower  above  her  forehead,  is  here 
represented  unveiled. 

76.  The  Wrestlers.  3^-t  Marble,  in  Florence. 

The  original  of  this  spirited  group  is  attributed  to  Cephissodotus,  of  the 
School  of  Rhodes,  5th  period  of  Greek  art.  Having  been  found  near  the 
Niobe  group,  it  was  thought  by  many  to  have  formed  a part  of  it.  Viardot 
says  of  it:  “The  head  of  the  vanquished,  purely  antique,  is  gloomy  and  dis- 
torted, expressing  impotent  fury,  while  the  head  of  the  conqueror  seems  full 
of  the  pride  of  triumph.” 

77.  Diana  Huntress.  6ftH6-iD  Marble,  in  the  Louvre. 

Also  called  Diana  of  Versailles,  whither  it  was  brought  from  Italy,  for 
Francis  I.  The  goddess  is  represented  as  snatching  from  Hercules  the 
miraculous  deer  with  golden  horns  and  brazen  feet,  which  he  had  chased 
for  a year.  It  is  of  the  same  style  of  art  with  the  Belvedere  Apollo,  of  which 
it  is  properly  the  mate,  and  is  considered  to  have  been  executed  in  the  first 
Christian  century.  There  is  a maidenly  severity  of  aspect  in  the  chaste 
goddess,  as  though,  to  use  the  words  of  Viardot,  “she  were  more  ready  to 
punish  Acteon  than  to  awaken  the  beautiful  sleeper  of  Mount  Latinos  ” 

78.  Augustus  (Lesar.  6ftaoin.  Marble,  in  the  Louvre. 

The  original  of  this  noble  robed  statue  is  much  worn,  excepting  the  head, 
which  bears  a strong  resemblance  to  the  “Crowned  Augustus,”  which  see 
page  11. 

79.  Hermes  and  Dionysos.  7ftH.;in.  Original  in  marble.  Praxiteles. 

The  original  of  this  superb  cast,  now  in  Athens,  Greece,  was  found  by 
German  explorers  in  Olympia  in  1877.  It  is  known  to  be  by  Praxiteles,  on 
the  authority  of  Pausanias,  (2d  century  A.  D.,)  who  saw  and  described  it. 
It  is  considered  equal  at  least,  if  not  superior,  to  any  statue  of  antiquity. 


HALLS  OF  MODERN  SCULPTURE  AND  OF  THE  RENAISSANCE. 


29 


Jupiter,  wooed  by  Semele,  descends  to  ber  in  thunder  and  lightning.  Over- 
come with  terror,  she  was  consumed  in  the  flames.  In  pity  for  her  unborn 
child,  he  had  it  sewn  up  in  his  thigh  until  mature.  After  its  birth  he  con- 
signed it  (Dionysos)  to  Mercury,  who  bore  it  tenderly  to  Ino,  sister  of  Semele. 
Hermes,  (Mercury,)  with  his  left  arm  resting  upon  a tree  trunk  partly  hidden 
by  his  mantle,  supports  the  infant  Dionysos,  whose  right  hand  rests 
upon  the  shoulder  of  his  guardian.  The  right  arm  of  Hermes  is  but  a 
stump,  much  elevated,  but  its  action  when  entire  is  unknown,  though 
Hirschfleld  suggests  that  it  held  up  a bunch  of  grapes.  The  attitude  of  the 
child  appears  as  if  he  were  eagerly  grasping  at  something,  and  the  pleased 
expression  of  Hermes  seems  to  warrant  the  suggestion. 

All  below  the  knees  of  Hermes  is  lost,  save  one  foot,  (seen  on  the  plinth 
behind  the  cast,)  the  finished  modelling  of  which  is  superior  to  that  of  any 
other  foot  in  the  collection.  The  loss  of  the  lower  limbs  is  a serious  one, 
and  when  we  survey  the  noble  and  beautiful  head,  the  manly  chest,  the 
loins  and  thighs,  wherein  are  blended  strength,  lightness,  and  grace,  we 
feel  what  a transcendent  statue  it  must  have  been  when  entire.  The  fea- 
tures are  notably  unlike  those  of  any  other  antique  head,  where  rigid  classic 
lines  show  little  emotion.  The  brow  is  full  and  broad,  and  the  nose  and 
other  upper  features  suggest  a Washington-like  mould,  while  on  the  mouth 
sits  a gentle  gracious  smile  towards  Dionysos,  more  god  like  than  the  expres- 
sion of  Silenus  over  his  infant  Bacchus,  No.  26. 

SIDE  GALLERY,  (MODERN.) 

1.  Venus  Yictrix.  5 ft.  n'q  in  Marble.  By  John  Gibson. 

The  calm  self-possession  in  her  victory  of  this  Venus  contrasts  with  the 
dainty,  lively  action  of  the  same  subject  by  Thorwaldsen. 

John  Gibson  was  born  in  1790  and  died  at  Rome  in  1866.  He  boldly  used 
color  upon  his  marble  statues,  saying  that  “whatever  the  Greeks  did  was 
right.”  He  made  a statue  of  Queen  Victoria  in  classical  costume,  with  the 
diadem,  sandals,  and  border  of  the  drapery  colored.  The  original  in 
marble  of  this  cast  was  also  colored.  The  face  and  limbs  were  of  flesh 
color,  the  drapery  yellow,  and  the  apple  red. 

2.  Venus.  srt^in  Marble,  in  Florence.  By  Canova. 

It  is  but  a modified  copy  of  the  Venus  de  Medici,  with  the  addition  of 
drapery,  and  the  small  difference  that  Canova’s  figure  rests  upon  the  right 
leg,  and  not  upon  the  left,  as  does  the  great  Medicean  statue. 

3.  Venus  Victrix.  Marble.  By  B.  Thorwaldsen. 

There  is  but  one  opinion  of  its  exquisite  symmetry,  purity,  and  grace. 
Thorwaldsen  was  born  in  Copenhagen  in  1757  and  died  in  1844.  His 
genius  more  than  that  of  any  other  modern  sculptor  inclined  to  revive  an- 
tique sculpture,  and  hence  he  has  been  called  “a  posthumous  Greek.” 

4.  Clytie.  4ft.u^in.  Marble.  W.  H.  Rinehart. 

The  original  marble  is  in  the  Peabody  Institute,  Baltimore.  It  is  the 
work  of  a sculptor  who,  from  the  humble  position  of  a marble-cutter, 
rose  to  the  highest  rank  as  a sculptor.  Matching,  but  not  imitating,  the 
pensive  sweetness  of  the  famous  antique  bust  of  Clytie,  he  has  carried  out 
the  story  of  her  ill-fated  passion  for  Apollo  in  the  drooping  sadness  of  a deli- 
cate form,  that  puts  this  work  of  American  genius  not  only  in  a proud  posi- 
tion amid  those  of  Thorwaldsen,  Canova.  and  Gibson,  but  also  of  Greek 
sculpture. 

Mr.  Rinehart  died  at  Rome,  in  1874,  aged  46. 

5.  Sleeping  Child. 


l. 

2 ft.  1 in. 


F.  Pettrich. 


30 


SCULPTURE  OF  THE  RENAISSANCE. 


GALLERY  OF  THE  RENAISSANCE. 

1.  Cast  from  the  West  Bronze  Gate  of  the  Baptistery  at 
Florence.  By  Lorenzo  Ghiberti,  1381-1455. 

This  superb  cast  was  brought  from  the  South  Kensington  Museum,  Lon- 
don, and  consists  of  forty-six  pieces. 

Ghiberti  was  a goldsmith,  and  from  the  Goldsmiths’  Guild  arose  the 
great  sculptors  in  bronze.  He  appeared  before  the  world  in  that  era  of 
the  Renaissance  when  the  exhumation  of  the  great  models  of  ancient  art 
inspired  the  whole  race  of  painters,  sculptors,  and  architects.  He  was 
only  twenty  years  old  when  he  competed  for  the  work  of  making  the  bronze 
door  of  the  north  portal  of  the  Baptistery,  and  got  the  commission,  though 
his  competitors  were  the  famous  veteran  sculptors  of  that  time.  His  suc- 
cess with  that  gate,  which  took  him  twenty-one  years  to  execute,  (1424,)  at 
once  obtained  for  him  the  order  for  the  west  gate — the  original  of  this  cast, 
which  was  completed  in  1447,  and  upon  it  his  fame  chiefly  rests.  The  de- 
signs for  his  first  gate  were  from  the  New  Testament,  and  were  dictated  to 
him  by  the  Consuls,  but  in  his  last  and  greatest  work  he  was  allowed  to 
select  his  own  designs  from  the  Old  Testament.  Michael  Angelo  said  they 
were  “ worthy  of  being  the  gates  of  Paradise.”  A farm  and  a seat  in  the 
Supreme  Magistracy  of  Florence  were  voted  to  him  as  rewards  for  his 
genius.  Ten  square  panels  contain  the  designs  from  the  Old  Testament, 
each  design  illustrating  three  or  four  incidents,  and  are  surrounded  by 
narrower  panels,  some  of  them  upright,  with  niches  containing  historic  per- 
sonages, prophets,  sybils,  &c.,  in  high  relief,  and  enriched  with  birds,  flow- 
ers, fruit,  &c. , delicately  wrought. 

The  left  highest  panel  shows  the  Creation  of  Adam  and  Eve,  the  For- 
bidden Fruit,  and  the  Expulsion  from  Eden.  On  the  right  panel  opposite 
are  Offerings  of  Cain  and  Abel,  Killing  of  Abel,  Man’s  Labor,  and  Cain 
with  His  Maker. 

The  left  panel  below  has  the  Ark  after  the  Deluge,  Noah’s  Sacrifice  and 
Inebriation.  On  the  right  are  the  Sacrifice  of  Isaac,  Servants  at  the  foot  of 
the  Mount,  and  Abraham  with  the  Three  Angels. 

The  left  central  panel  contains  Jacob  and  Esau,  and  on  the  right  Joseph 
and  his  Brethren,  their  Cruelty,  their  meeting  in  Egypt,  the  Cup  in  Benja- 
min’s Sack,  &c. 

The  left  panel  below  the  centre  shows  Moses  Receiving  the  Law,  and  the 
People  at  the  Foot  of  the  Mount.  On  the  right  are  Joshua  before  Jericho, 
and  the  Division  of  the  Tribes. 

The  lowest  panel  on  the  left  contains  David  and  Goliah,  and  on  the  right 
Solomon  and  the  Queen  of  Sheba. 

Among  the  statuettes  in  the  upright  panels  are  Sampson  with  the  Pillar, 
Joshua  in  Armor,  Judith  with  the  Head  of  Holofernes,  Jephthah’s  Daughter. 
Among  the  heads  are  two  on  a line  with  the  top  of  the  second  panel  repre- 
senting the  artist  Ghiberti,  (the  bald  one  on  the  right,)  and  Bartoluccio,  his 
father-in-law. 

The  outer  panels,  bearing  fruits  and  flowers,  were  finished  by  Ghiberti’s 
son,  the  artist  having  died  ere  the  completion  of  his  work,  at  the  age  of 
seventy-four  years — more  than  half  of  which  was  given  to  these  two  monu- 
ments of  his  genius  that  after  four  centuries  remain  unimpaired  wonders  of 
art. 

Ghiberti  boldly  departed  from  all  preceding  rules  that  confined  bas-relief 
to  the  strict  laws  of  the  plastic  art,  and  introduced  perspective  and  land- 
scape. This  point  in  his  work  has  been  condemned  by  many,  and  among 
them  Flaxman,  Sir  Joshua  Reynolds,  and  Westmacott ; but  such  is  the 
amazing  relief  and  exquisite  expression  of  distance  in  his  groups,  buildings, 
and  landscape  that  such  technical  objections  will  find  but  little  sympathy, 
and  Dr.  Lubke  has  well  disposed  of  them  in  the  following  comment  : “Ghi- 
berti revolutionized  plastic  art  by  his  love  for  the  picturesque,  which  forbids 
the  former  to  enter  the  lists  of  the  sister  arts  ; yet  in  the  hands  of  a master 


SCULPTURE  OF  THE  RENAISSANCE. 


31 


sculpture  never  trespassed  upon  forbidden  soil  with  such  inimitable  grace 
and  fullness  of  beauty  and  life,  that,  much  as  we  protest  against  the  ten- 
dency, we  are  carried  away  by  the  charm  of  the  whole.” 

The  cast  of  this  gate  as  it  stands  is  18  feet  2 inches  high  by  12  feet  G 
inches  wide — exclusive  of  the  walnut  frame,  which  makes  it  altogether  19 
feet  7 inches  high  by  14  feet  6 inches  wide. 

2,  3,  4,  5,  G,  7.  Bas-Reliefs  of  Nymphs  of  the  Fountain  of  the 
Innocents.  From  the  originals,  in  marble,  in  the  Louvre.  By 
Jean  Goujon.  (1530-1572.) 

Jean  Goujon  was  the  leader  of  the  Renaissance  of  French  sculpture, 
and  by  the  graceful  flowing  lines  of  his  forms,  was  called  the  Correggio  of 
sculpture  ; though  in  the  extreme  slenderness  of  their  proportions  he 
inclined  too  much  to  the  style  introduced  by  Primaticcio.  He  was  slain 
by  a stray  shot  while  at  work  on  the  scaffold  at  the  Louvre,  during  the 
massacre  of  St.  Bartholomew’s  Day. 

8.  Triton  and  Nereid.  9.  Amphitrite,  wife  of  Neptune. 
10.  Nympii  of  the  Sea.  Bas-reliefs,  by  J.  Goujon.  From  the 
Fountain  of  the  Innocents.  Original,  marble,  in  the  Louvre. 

11.  The  Four  Evangelists.  Bas-reliefs,  by  J.  Goujon.  1541-44. 

Original,  in  marble,  in  the  Louvre,  from  the  Roodloft  of  St. 
Germain  1’Auxerrois.  The  small  panels  represent  Religion, 
Faith,  and  Strength. 

12,  13,  14,  15.  Bas-reliefs  of  Sea-Nymphs.  Original,  in  marble,  in 

the  Louvre.  By  J.  Goujon.  Formerly  in  the  Porte  St.  Antoine. 

1G.  Bas-reliefs  from  the  Tomb  of  Cardinal  and  Chancellor 
Duprat.  Original,  in  marble,  in  the  Louvre.  By  J.  Goujon. 

17.  Bas-relief  of  History  Recording  the  Works  of  President 

J.  A.  DtjTiiou,  Counsellor  and  Historian.  By  Frai^ois  Anguier. 
1553-1617.  Original,  in  bronze,  in  the  Louvre. 

18.  Bas-relief  of  Victory.  By  Jacquet.  Original  in  the  Louvre. 

19.  Flying  Mercury.  6ftHfin  Original  in  bronze.  Florence. 

The  original  was  executed  by  John,  of  Bologna,  about  1560  A.  D.,  and  is 
in  the  Ufflzi.  In  classic  conception  of  the  winged  messenger  of  Jove 
bounding  upward  with  airy  grace,  caduceus  in  hand,  from  the  mouth  of 
iEolus,  this  spirited  figure  would  do  honor  to  the  genius  of  old  Greece. 


20.  David  and  Goliah.  5ftHiin.  Original  in  bronze.  Florence. 

A noble  work  by  Donatello,  the  great  Tuscan  sculptor,  now  in  the 
Ufflzi.  It  represents  the  young  victor  nude,  with  an  ivy-crowned  shep- 
herd’s hat,  standing  with  one  foot  on  Goliali’s  head,  which  he  has  dis- 
severed with  his  enemy’s  sword  held  in  his  right  hand.  The  winged  helmet 
of  Goliah  bears  in  low  relief  a car  of  triumph  drawn  by  children. 


21. 


TnE  Thp.ee  Graces  or  Charities. 
Carved  in  marble,  in  the  Louvre. 


H.  W. 

6 ft.  6 in.  x 6 ft.  4 in. 

By  Germain  Pilon.  1560. 


This  curious  example  of  the  Renaissance  of  French  sculpture  was 
executed  for  Catharine  of  Medicis  in  memory  of  her  husband,  Henry  II 
of  France,  whose  heart  was  placed  in  the  original  urn,  supported  on  the 
heads  of  the  three  female  figures,  standing  back  to  back  and  with  linked 
hands,  upon  a triangular  pedestal  of  exquisite  beauty  These  figures 
represent  Catharine  herself,  the  Duchess  d’Etampes,  and  Madame  Villeroy, 
three  of  the  fairest  women  of  that  time.  This  work  is  noted  for  the 


32 


SCULPTURE  OP  THE  RENAISSANCE. 


original  treatment  of  the  drapery,  and  was  cut  out  of  a single  block  of 
marble.  The  pedestal  was  made  by  a different  hand,  and  bears  on  its 
three  faces  inscriptions  in  Latin,  to  the  following  effect  : 

“ Here  Catharine  has  deposited  the  heart  of  the  king,  her  husband, 
wishing  she  could  bury  it  in  her  own  bosom.” 

“The  united  heart  of  both  testifies  before  men  enduring  love — a sub- 
dued spirit  before  God.” 

“The  Three  Graces  (or  Charities)  rightfully  bear  on  their  heads  a heart 
once  the  seat  of  the  graces  (or  charities) — a heart  that  aspired  to  the 
highest  things.” 

This  monument  formerly  stood  in  the  Chapelle  d’Orleans,  Church  of  the 
Celestins. 

22.  Colossal  Bust  of  David.  2ftaoin.  By  Michael  Angelo.  1504. 

This  grand  cast  is  taken  from  the  original  colossal  statue  in  marble,  19 
feet  high,  in  Florence,  representing  David  about  to  hurl  the  stone  at  Goliah. 
The  statue  was  cut  out  of  one  block  of  marble. 

A wonderful  blending  of  inspired  heroism  with  the  beauty  of  young  man- 
hood is  given  in  the  terrible  frown,  the  dauntless  determination  of  the  com- 
pressed lips,  and  the  swollen  veins  and  muscles  of  the  neck. 

23,  24.  The  Prisoners  or  Slaves.  7 ft^-in 

Florence.  Michael  Angelo. 

These  powerful  statues  were  designed  for  a grand  monument  to  Pope 
Julius  II,  planned,  but  never  executed,  by  M.  Angelo.  The  artist  gave 
them  to  a friend  who  had  nursed  him  in  illness,  and  he  presented 
them  to  Francis  I,  who,  in  turn,  gave  them  to  the  Constable  Montmo- 
rency for  his  Chateau  d’Ecouen.  During  the  troubles  of  the  Revolution 
in  1793,  they  were  found  in  the  stables  of  the  Due  de  Richelieu, 
and  were  bought  for  the  Republic.  They  are  now  in  the  Louvre,  and 
are  the  only  great  works  of  M.  Angelo  in  France.  They  were  taken  to 
Florence  in  1875  to  swell  the  memorials  of  the  sculptor’s  mighty  genius  at 
the  centennial  celebration  of  his  birthday.  No  better  examples  exist  of  his 
power  in  depicting  physical  passion.  The  dignity  of  form  and  expression 
of  drooping,  slumberous  suffering  of  one  figure  are  in  singular  contrast  with 
the  contorted  limbs  and  writhing,  defiant  air  of  the  other;  the  unfinished 
head  of  which,  showing  the  marks  of  the  great  master’s  chisel,  illustrates 
the  frequent  fitful  energy  of  his  style. 

25.  Cupid.  Marble.  Michael  Angelo. 

The  original  is  in  the  Kensington  Museum,  and  was  bought  from  the  Cam- 
pana  collection.  It  is  supposed  to  be  one  of  his  earliest  works,  executed 
soon  after  his  first  visit  to  Rome. 

26.  Singing  Boys.  3ft®-jn  2fL2in.  Original  in  marble.  Florence. 

One  of  many  alto-reliefs  by  Lucca  della  Robbia  (about  1440  A.  D.)  for  the 
balustrade  of  an  organ  loft,  but  never  set  up.  They  are  now  in  the  Uffizi. 
This  relief  is  considered  a master-piece  for  grouping  and  natural  expression. 

27.  Sitting  Statue  of  Lorenzo  > de  Medici.  5nH8-in  M.  Angelo. 

The  original  of  this  imposing  figure,  whose  solemn,  meditative  air  has 
given  it  the  title  of  “II  Pensiero,”  is  in  the  church  of  St.  Lorenzo,  Flor- 
ence, with  a similar  statue  of  his  brother,  Giuliano,  and  erected  by  order  of 
Pope  Leo  X-  Below  them,  on  the  curved  tons  of  their  sarcophagi,  recline 
the  figures  of  Dawn  and  Twilight  under  Lorenzo,  and  of  Day  and  Night 
under  Giuliano.  Reduced  copies  of  these  symooue  figures,  Nos.  41  and  42, 
furnish  an  idea  of  the  general  form  of  the  monuments. 

28.  Head  of  the  Statue  of  Giuliano  de  Medici.  M.  Angelo. 

The  noble  grace  of  this  uncovered  head  is  in  striking  contrast  with  the 
mysterious  awe  of  his  brother’s,  overshadowed  by  the  helmet, 


SCULPTURE  OF  THE  RENAISSANCE. 


33 


29.  Mask  of  Moses.  2«H7in.  Marble.  M.  Angelo. 

The  original  of  the  colossal  seated  statue  of  Moses  is  considered  one  of 
the  sublimest  of  the  sculptor’s  works,  and  was  executed  for  the  monument 
of  Pope  Julius  II.  Lubke  says  that  in  the  intense  energy  of  its  expression 
the  sculptor  “does  not  represent  the  circumspect  chief,  the  wise  lawgiver, 
but  the  stormy  zealot,  dashing  aside  the  tablets  of  the  law,  in  furious  auger 
at  the  idolatry  of  his  people.”  For  an  explanation  of  the  strange  error  of 
horns  being  attached  to  the  head  of  Moses  see  the  notice  of  Cabanel’s 
“Death  of  Moses,”  No  58  of  the  main  gallery  of  pictures. 


30.  Bas-relief  of  an  Altar-piece. 


h.  w. 

•A  ft.  3 3-4  in.  4 ft.  4 1-2  in. 

Mino  da  Fiesole,  1400-1486. 


This  fine  has  relief  in  marble,  in  the  Cathedral  at  Fiesole,  Florence,  rep- 
resents the  Virgin  between  St.  Remigius  and  St.  Leonhard,  with  the  infant 
Jesus  below,  and  St.  John  worshipping  him.  One  of  the  saints  directs  the 
sitting  figure,  holding  a crutch,  to  the  Saviour  also. 


31.  Bust  of  Bishop  Lionardi  ("Sahitati.  <%\d  Mino  da  Fiesole. 

The  Bishop  was  the  friend  of  Pope  Eugenius  IV,  and  this  bust,  so  full  of 
strong  character,  is  from  the  original  marble  monument  in  the  Cathedral  of 
Fiesole. 


32,  33,  34,  35,  36.  Five  Bass-reliefs.  31  ^ x 29^ in 

Benedetto  da  Maiano,  1142-1498. 

These  admirable  reliefs,  representing  scenes  in  the  life  of  St.  Francis,  are 
from  the  marble  pulpit  of  the  Church  of  Sante  Croce,  Florence. 

37.  Head  of  St.  George.  ^ Donatello,  1386-1468. 

The  marble  statue  of  St.  George,  clad  in  armor,  with  cross-emblazoned 
shield,  stands  in  an  external  niche  of  Or  San  Michelle,  Florence,  and  is  con- 
sidered a masterpiece  of  knightly  grace  and  dignity. 

38,  39,  40.  Busts  of  Matteo  Palmieri,  Filippo  Strozzi,  and  Pietro 
Mellini.  Originals  in  marble  in  Florence,  by  Benedetto  da  Maiano. 


Hall  of  Bronzes,  Ceramic  Ware,  &c. 


1,  2.  Pair  of  Vases,  from  Sevres,  France,  with  floral  decorations. 

3.  The  Hildesheim  Treasures.  By  Christofle  & Co.,  Paris. 

Electrotype  reproductions  of  ancient  vessels  found  near  tbe  remains  of  a 
Roman  camp,  near  Hildesheim,  Hanover. 

On  the  17th  of  October,  1868,  some  soldiers,  while  digging  near  their  camp 
on  the  slope  of  Galgen,  overlooking  that  town,  found,  at  the  depth  of  ten 
feet,  some  bits  of  metal  that  proved  to  be  silver.  Further  search  discovered 
two  large  bell  shaped  vases  or  bowls,  inverted,  under  which  were  other  ves- 
sels and  fragments.  They  were  strangely  heaped  together  ; the  feet  and 
handles  were  detached  from  the  vessels  to  which  they  belonged,  and  many 
were  much  corroded  by  the  infiltration  of  a wet  soil. 

They  were  placed  in  the  hands  of  an  expert,  who  succeeded  in  rejoining 
the  loose  feet  and  handles.  Being  subsequently  taken  to  the  Royal  Museum 
at  Benin,  they  were  reproduced  in  electrotype  by  German  artists,  but  in  a 
style  far  inferior  to  these  by  Christofle  & Co.  Their  discovery  made  a 
great  sensation,  and  it  was  at  first  supposed  that  the  original  Treasures  were 
part  of  the  dinner  service  of  Varus,  the  Roman  general,  who  was  defeated  by 
the  Germans,  under  Arminius,  near  Hildesheim,  in  the  year  A.  D.  9,  but 
the  style  of  some  of  the  pieces  was  so  evidently  of  a later  date  that  the 
idea  is  now  abandoned.  The  design  and  workmanship  of  most  of  them 
certainly  show  their  extreme  antiquity;  such  as  the  four  paterae  or  howls, 
containing  figures  in  such  high  relief,  two  of  which — No.  3,  said  to  be 
Deus  Lunus,  with  a Phrygian  cap,  with  a crescent  behind  him,  and  No.  4, 
a female  with  a mural  crown  and  shield,  said  to  be  Cyhele,  or  the  Earth — 
are  apparently  of  an  Oriental  character.  On  the  other  hand,  the  high 
conical  cup,  No.  5,  is  pronounced  by  M.  A.  Darcel,  author  of  a pamphlet 
accompanying  these  Treasures,  to  be  of  a much  later  date,  from  the  rude 
shape  of  the  cup  and  semi-barbarous  style  of  its  chasings,  so  unlike  the 
classical  forms  and  decorations  of  the  accompanying  drinking  cups. 

It  is  now  believed  these  “Treasures”  were  the  buried  spoils  of  a robber 
of  later  times,  and  not  the  collection  of  some  rightful  owner  who  had  hidden 
them  in  a time  of  invasion. 

Those  who  wish  to  know  more  of  these  Treasures  can  find  their  char- 
acter discussed  at  length  in  the  pamphlet  by  M.  A.  Darcel,  Paris. 


LIST  OF  THE  “HILDESHEIM  TREASURES.” 


1 Large  Miheeva  Bowl.  (Patera.) 

2 Bowl  with  Hercules.  (Strangling 

the  Serpents.) 

3 Bowl  with  Deus  Lunus.  (Wearing 

Phrgyian  cap  with  horns  of  cres- 
cent.) 

4 Bowl  with  Cybele.  (With  mural 

crown.) 

5 Large  Drinking  Bowl.  (Oxybaphon.) 

6 Drinking  Cup.  (With  four  masks  of 

Bacchants. ) 

7 Drinking  Cup.  (With  six  masks  of 

Fauns.) 

8 Drinking  Cup.  (With  ten  masks,  with 

scenic  accessories. ) 

9 Drinking  Cup.  (With  garlands. ) 

10  Drinking  Cup.  (With  laurels.) 

11  A Cup.  (With  handles  of  leaves  of 

acanthus  and  flowers.) 

12  Egg  Dish. 

13  Salt-Cellar  for  Egg  Dish.  (With 

carved  exterior. ) 


14  Saucepan.  (Handle  with  water  lilies.) 

15  Saucepan.  (Handle  with  leaf  of  ivy.) 

16  Saucepan.  (With  handle  knotted.) 

17  Saucepan.  (With  handle  of  palm 

leaves.) 

18  Ladle.  (With  handle  of  palm  leaves.) 

19  Ladle.  (With  handle  of  ivy  branch. ) 

20  Salt-Cellar.  (With  ivy  leaves.) 

21  Salt-Cellar.  (With  ivy  leaves.) 

22  Olive  Bowl.  (With  three  carved  feet.) 

23  Turnip  Dish. 

24  Duck  Dish. 

25  Tripod.  (Base  of  a candelabrum. ) 

26  Support.  (With  head  of  Bacchus  ; 

part  of  Tripod.) 

27  Handle  of  a Vase.  (Fragment.) 

28  Claw  of  Tripod.  (With  head  of 

Jupiter.) 

29  Conical  Cup.  (With  rude  carvings  of 

animals.) 

30  Large  round  Dish.  (Bordered  with 

foliage,  birds,  and  squirrels.) 


34 


HALL  OF  BRONZES,  MAJOLICA,  AC. 


35 


4,  5,  6,  7,  8,  9,  10,  11,  are  various  examples  of  Faience,  after  Ber- 
nard Palissy. 

12.  Bust  of  the  late  Commodore  Morris,  U.  S.  N.  King.  Boston. 

13.  Bust  of  ex- Vice-President  John  C.  Breckenridge. 

By  H.  K.  Brown.  18 — . Presented  by  Geo.  Taylor,  Esq. 

14.  Marble  Statuette  of  Echo.  2itHioin.  Larkin  G.  Meade. 

Mr.  Meade  is  a native  of  Vermont,  and  his  first  effort  in  sculpture  was  an 
angel  made  of  snow,  that  made  quite  a sensation,  and  led  to  his  being  be- 
friended by  Mr.  Longworth,  of  Cincinnati.  He  afterwards  went  to  Europe, 
and  his  first  work  was  this  statuette  of  “Echo.” 

15.  Bust  of  Alexander  Von  Humboldt. 

Christian  Rauch.  Berlin.  1777-1857. 

This  fine  work  was  executed  for  Mr.  Corcoran  at  the  particular  request 
of  Humboldt.  Rauch  was  one  of  the  most  eminent  sculptors  of  his  time. 
His  greatest  work  is  the  statue  of  Frederick  the  Great,  at  Berlin. 

16.  Prometheus  Vase.  (Majolica.)  By  Minton.  England. 

.This  superb  turquoise  vase,  four  feet  high,  represents  the  old  Greek 
myth  of  Prometheus  chained  to  a rock,  with  a black  eagle,  with  distended 
wings,  feeding  upon  his  never-dying  vitals,  as  a punishment  for  stealing  fire 
from  Heaven.  Below  him,  on  the  swell  of  the  vase,  recline  four  figures, 
with  manacled  feel,  and  hands  bound  with  ropes  that  extend  to  the  han- 
dles of  the  vase,  over  which  hang  also  the  iron  chain.  The  base  is  encir- 
cled with  a wreath  of  laurel,  round  which  are  twisted  four  serpents,  thus 
typifying  throughout  the  gnawing  cares  of  the  soul  lighted  by  genius 
caught  from  heaven,  and  tormented  by  the  worm  creeping  among  his 
laurels. 

17a,  175.  Majolica  Vases,  Pair  of,  with  Japanese  decorations. 

These  vases,  over  four  feet  high,  were  made  by  Deck,  of  Paris,  and  are 
modern  imitations  of  the  pottery  of  the  Moors,  whose  principal  factory  was 
in  the  Island  of  Majorca — in  the  Tuscan  dialect,  Majolica  ; hence  the  name 
of  the  ware.  It  is  simply  earthenware  with  a strong,  lustrous  glaze,  that 
remained  a secret  with  the  Moors  until  the  Italians  discovered  it,  and  then 
the  town  of  Faenza,  in  Italy,  became  famous  for  its  ware.  Hence  the  name 
Faience  was  given  to  it,  and  which  is  essentially  the  same  as  Majolica.  The 
great  artists  of  that  era,  even  Raphael  himself,  often  furnished  designs  for  it. 

18,  19.  Two  Vases  of  Sevres  Porcelain,  that  contrast  the  elegance 
of  the  modern  French  ware  with  the  imitations  of  the  semi- 
barbarous  style  of  Moorish  pottery. 

20,  21.  Two  Plaques  of  Stone-Porcelain,  into  which  are  burnt 
paintings  of  Poultry  and  Fish,  by  Schopin,  of  Paris. 

The  process  of  baking  these  pictures  is  difficult  and  hazardous.  The 
slightest  mistake  in  the  temperature  in  cooling  the  slabs  is  apt  to  ruin  the 
work.  It  often  happens  that  forty  of  them  are  spoilt  before  a successful 
picture  is  secured. 

22.  Bronzes.  By  Antoine  Louis  Barye,  Paris. 

This  collection,  by  the  late  famous  sculptor  and  professor  of  animal 
drawing  in  the  Jardin  des  Plantes,  Paris,  is  the  largest  one  to  be  found, 
even  in  Europe.  The  dates  on  some  of  them  will  show  how  unimpaired 
was  his  skill  at  an  advanced  age.  He  was  born  in  1796,  and  died  on  the 
25th  of  June,  1875.  He  was  first  an  engraver,  next  a goldsmith,  and  finally 
a sculptor,  and  he  successively  studied  under  Fourier,  Bosio,  and  Le  Gros. 
He  first  exhibited  in  1827.  So  free  from  pride  was  his  nature,  that  he 
often  personally  delivered  to  his  patrons  their  purchases;  a habit  that 


36 


BRONZES  BY  A.  BA RYE. 


1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 
21 
22 

23 

24 

25 

26 

27 

28 

29 

30 

31 

32 

33 

34 

35 

36 


caused  a wrong  belief  that  his  poverty  forced  him  to  hawk  his  works  about 
the  streets  in  a basket.  In  1848  he  was  appointed  Keeper  and  Director  of 
the  Modelling  Department  of  the  Louvre,  and  in  1851  attained  the  post 
in  the  Jardin  des  Plantes  held  by  him  until  his  death.  This  position 
gave  him  his  astonishing  knowledge  of  the  forms  and  habits,  quiescent 
and  ferocious,  of  the  various  animals  there.  Nor  was  his  genius  con- 
fined to  them.  The  superb  group  of  Roger  and  Angelique,  (the  old  story 
of  Perseus  and  Andromeda  in  the  garb  of  a mediaeval  ballad,)  the  groups  of 
Theseus  slaying  the  Centaur  and  Minotaur,  show  his  classical  taste.  His 
horses  are  remarkable  for  their  modelling  and  varied  action  ; and  though 
perhaps  over-fond  of  showing  the  ferocious  instincts  of  the  brute  creation, 
their  gentler  moods  are  quite  as  successfully  represented.  We  turn  from  the 
furious  leap  of  the  Lion,  the  spring  of  the  Hound,  the  deep-buried  bite  of 
the  Tiger,  and  the  terrible  coil  of  the  Serpent,  and  see  the  versatility  of  his 
genius  in  the  quiet  beauty  of  his  groups  of  Deer,  the  timid,  shrinking 
Gazelle,  the  grim  dignity  of  his  sitting  Lion,  the  knightly  air  of  his  Gaston 
de  Foix,  and  the  ambling  grace  of  his  Amazon. 

The  Lion  of  the  Tuileries,  the  Lion  of  the  Column  of  July,  and  his 
Theseus  and  Centaur  are  considered  his  great  master-pieces. 


BRONZES,  by  A.  L.  BARYE. 


(The  smaller  bronzes  are  in  eas 
General  Bonaparte. 

The  Duke  of  Orleans. 

The  Amazon. 

Gaston  de  Foix. 

Charles  VII,  the  Victorious. 

Tartar  Warrior  checking  his  Horse. 
Two  Arab  Horsemen  killing  a Lion. 
African  Horseman  surprised  by  a 
Serpent. 

Indian  mounted  upon  an  Elephant 
crushing  a Tiger. 

Angelique  and  Roger  mounted  upon 
a Hippogriff. 

Minerva. 

Juno. 

Theseus  slaying  the  Minotaur. 
Theseus  slaying  the  Centaur. 

Ape  mounted  upon  a Gnu. 

Bear  erect. 

Two  young  Bears. 

Bear  sitting. 

Little  Basset  Dog.  (English.) 

Wolf  seizing  a Stag  by  the  throat. 
Two  young  Lions. 

Lion  devouring  a Hind. 

Lion  and  Serpent. 

Lion  sitting. 

Lioness  from  Senegal. 

Algerine  Lioness. 

Lion  walking. 

Tiger  walking. 

Tiger  surprising  an  Antelope. 

Tiger  surprising  a Stag. 

Tiger  surprising  a Garral,  (species 
of  Crocodile.) 

Tiger  devouring  a Gazelle. 

Panther  seizing  a Stag. 

East  India  Panther. 

Panther  from  Tunis. 

Panther  surprising  a Zibet. 


in  the  windows,  near  the  table.) 

37  Jaguar  walking. 

38  Jaguar  standing. 

39  Jaguar  sleeping. 

40  Jaguar  devouring  a Crocodile. 

41  Ocelot  carrying  off  a Heron. 

42  Asiatic  Elephant. 

43  African  Elephant. 

44  Horse  surprised  by  a Lion. 

45  Half-blooded  Horse. 

46  Turkish  Horse. 

47  Turkish  Horse. 

48  Egyptian  Dromedary. 

49  Elk  surprised  by  a Lynx. 

50  Deer  dragged  to  earth  by  two  Scotch 

Hounds. 

51  Group  of  Deer. 

52  Virginia  Deer. 

53  Bull. 

54  Bull  and  Tiger. 

55  Bull  dragged  to  the  earth  by  a Bear. 

56  Eagle  holding  a Heron. 

57  Crocodile. 

58  Crocodile  devouring  an  Antelope. 

59  Serpent  Python  swallowing  a Hind. 

60  Serpent  Python  strangling  a Gazelle. 

61  Serpent  Python  crushing  a Crocodile 

62  Lion  of  July.  (Bas-relief.) 

63  Huntsman,  Costume  of  Louis  XV. 

64  Caucasian  Horseman. 

65  Bear  overthrown  by  Bull  dogs. 

66  Bear  flying  from  Dogs. 

67  Greyhound  and  Hare. 

68  Wolf  walking. 

69  Peasant.  (Mediaeval.) 

70  Greyhound. 

71  African  Buffalo. 

72  Sleeping  Hound. 

73  Couching  Panther. 

74  Group  of  Rabbits. 

75  Couching  Roe. 


barye’s  bronzes,  electrotype  reproductions,  &c. 


37 


76  Couching  Fawn. 

77  Axis,  (a  kiud  of  Deer.) 

78  Stag  of  Java. 

79  Deer  of  the  Ganges. 

80  Parroquet  resting  on  a branch. 

81  Pheasant. 

82  Pheasant  with  tail  closed. 

83  Tortoise. 

84  Leopard.  (Bas-relief.) 

85  Panther.  ( “ ) 

86  Weasel  carrying  off  a bird.  ( 

relief.) 

87  Virginia  Deer.  (Bas-relief.) 

88  Cup,  with  Fawn’s  feet. 

89  “ with  inverted  sides. 


90  Perfume  Burner. 

91  Antique  Candelabra. 

92  Candelabra  with  figures. 

93  Little  Candlestick. 

94  Candlestick  with  Serpent. 

95  Greek  Candlestick. 

96  Candlestick  with  bell-flowers. 

97  Candlestick  with  two  branches. 

98  Candlestick  with  Hares’  heads. 

99  Candlestick  with  vine  leaves. 

100  Candlestick  with  bell-flowers. 

101  Bear  robbing  a nest. 

102  Wolf  caught  in  a trap. 

103  Camel. 

104  Little  Bull. 


ELECTROTYPE  REPRODUCTIONS  OF  ARMOR,  &c.  (By  Lionnet 

Bro.,  Paris.) 


23-  Shield  from  the  Milan  Museum. 

24  Shield  from  the  Turin  Museum. 

25-  Bourgignotte  Helmet,  Museum  of  Artillery,  Paris. 

26-  Cap  of  a Doge,  “ “ 

27. 

28-  Shield.  French,  15th  century.  Medallions  of  David  and  Judith. 

Reproduction  by  Elkington  & Co.,  London. 

29-  Breast  plate,  Milan  Museum. 

30-  Suit  of  Armor  of  Henry  II,  France,  Museum  of  the  Louvre.  1547-59. 

(Attributed  to  Germain  Pilon,  the  sculptor.) 

31-  Shield  of  Henry  II,  Museum  of  the  Louvre.  1547-59. 

32-  Statuette  of  Henry  IV,  France,  when  a boy.  By  Bosio.  Museum  of  the 

Louvre.  Original  of  silver. 

33-  Shield,  Museum  of  Cluny. 

34-  Sword  of  the  Duke  of  Savoy,  Turin  Museum. 

35-  Pieces  of  Horse  Armor,  Museum  of  Lyons. 

36-  Cannon,  (Renaissance,)  Museum  of  Artillery,  Paris. 

(Attributed  to  Germain  Pilon.) 

37-  Axe  of  King  John,  France,  Museum  of  Artillery,  Paris.  1350-64. 

38-  Column  of  the  Place  Vendome,  Paris.  5ftH3-in 

Original  was  erected  in  1806-10,  by  Napoleon  I,  in  honor  of  his  German  campaign 
in  1805,  modelled  after  Trajan’s  Column,  Rome,  and  made  of  1,200  pieces  of 
Austrian  and  Russian  cannon  taken  in  that  campaign.  Its  height  was  135  feet, 
the  shaft,  covered  with  276  bronze  plates,  spirally  arranged,  to  a length  of  840  feet, 
representing  the  victories  of  the  French  army,  and  containing  2,000  figures  3 feet 
high.  It  was  the  work  of  31  sculptors.  The  original  statue,  by  Cliaudet,  11  feet 
high,  represented  the  Emperor  in  a Roman  mantle.  The  whole  work  cost  $300,000. 
In  1814  the  royalists  removed  the  statue,  had  it  melted  down,  and  converted  into  the 
horse  of  the  statue  of  Henry  IV  on  the  Pont  Neuf.  A flagstaff  and  Jleur  de  Us  took 
its  place.  These  in  turn  were  removed  by  Louis  Philippe  in  1833,  and  a statue  of 
Napoleon,  by  Seurre,  in  the  familiar  cocked  hat  and  overcoat,  set  up.  In  1863 
Napoleon  III  removed  this  statue  to  Courbevoie,  and  substituted  a fac  simile  of  the 
original  one.  Before  the  Germans  entered  Paris  the  military  statue  was  removed 
from  Courbevoie  and  hidden  in  the  bottom  of  the  Seine.  The  Commune  pulled  down 
the  whole  column,  except  its  base.  It  was  rebuilt  in  1874  and  the  broken  statue  re- 
paired and  restored;  but  it  has  been  again  superseded  by  the  cocked  hat  and  over- 
coat, since  fished  up  from  the  Seine.  The  changeful  fortunes  of  this  column  and 
its  statue  seem  to  have  been  foreshadowed  in  the  fact  that  part  of  its  base  formed 
the  pedestal  of  the  statue  of  Louis  XIV,  erected  in  1699,  and  pulled  down  by  the 
mob  in  the  Revolution  of  1792. 


38 


ELKINQTON  A CO’S  ELECTROTYPE  REPRODUCTIONS 


39.  CASE  OF  ELECTROTYPE  REPRODUCTIONS  OF  OBJECTS, 
CHIEFLY  IN  THE  SOUTH  KENSINGTON  MUSEUM.  (By 
Elkington  & Co.,  Birmingham.) 

1.  Grand  Cup  and  Cover.  Copper-gilt  ; German,  16tli  century.  Original  of 

silver-gilt,  in  Gratz,  Styria.  Height,  3 feet  4%  inches. 

2.  Salver.  Italian,  16th  century,  illustrating  the  siege  of  Tunis  by  Charles  Y, 

1535.  Original  in  the  Louvre,  Paris. 

3.  Spiked  Shield  of  Francis  I.  16th  century,  silvered-oxydized.  Original  in 

the  Museum  of  Artillery,  Paris.  Electrotyped  by  Lionnet,  Paris. 

4.  Chalice.  Spanish,  1540.  Original,  silver-gilt. 

5.  Tankard.  German,  1605  ; a cock  on  the  top.  Original,  silver-gilt. 

6.  Bedford  Tankard.  Italian,  16th  century.  Triumph  of  Bacchus.  Origi- 

nal in  ivory  and  silver. 

7.  Shrine  or  Cover  of  St.  Patrick’s  Bell.  Irish,  11th  century.  Original,  in 

copper,  gold,  and  jewels,  in  possession  of  Rev.  Dr.  Todd.  The  back  is 
silver,  perforated  with  crosses,  surrounded  with  Irish  characters.  The  bell, 
of  sheet-iron,  enclosed  in  the  original,  is  reputed  to  be  of  the  4th  century. 

8.  Pyx  or  Pix.  Portuguese,  17th  century.  For  holding  the  consecrated 

wafer.  Original,  silver-gilt. 

9.  Tankard.  German,  17th  century.  Original,  silver-gilt. 

10.  Tazza  or  Cup.  French,  17th  century.  Subject,  Death  of  Meleager.  Orig- 

inal, silver-gilt. 

11.  Tazza.  German,  17th  century  ; silver-oxydized.  Subject,  Judgment  of 

Solomon.  Original  of  silver. 

12.  Tankard.  German,  17th  century.  Original,  silver-gilt. 

13.  Tankard.  German  or  French,  16th  century. 

14.  Salt-Cellar.  Italian,  15th  century.  Original,  silver-gilt. 

15.  Salt-Cellar.  German,  1580.  Original,  silver-gilt. 

16.  Salt-Cellar.  German,  16th  century.  Original,  silver-gilt. 

17.  Salt-Cellar.  German,  16th  century.  Original,  silver-gilt. 

18.  Salt-Cellar.  German,  16tli  century.  Original,  silver-gilt. 

19.  Inkstand.  Italian,  16th  or  17th  century.  Original,  silver-gilt. 

20.  21,  22.  Knife,  Fork  and  Spoon.  French,  17th  century  ; gilt,  handles  in 

imitation  of  carved  ivory  ; in  the  collection  of  R.  Napier. 

23.  Candlestick.  Italian,  16th  century.  Original  in  bronze. 

34.  Inkstand  or  Perfume-Burner.  Copper-bronze  ; Italian,  15tli  century.  With 
statuette  of  Hannibal. 

25.  Small  Shield.  By  Benvenuto  Cellini.  Silvered-oxydized 

26.  Plate.  German,  16th  century  ; with  medallions  of  Emperors. 

27.  Plate.  German,  16th  century  ; subject,  Adam  and  Eve. 

28.  Plate.  German,  16th  century  ; with  arms  of  Swiss  cantons. 

29.  Cup  and  Cover.  English,  1638.  Original  of  silver. 

30.  Cup  and  Cover.  English  ; Hall-mark  1676.  Original  of  silver. 

31.  Incense-Holder.  Spanish,  about  1540-50.  Inscribed  with  “ Oratio  mea 

dirigalur  sicut  ineensum."  Original  in  rock  crystal,  mounted  in  silver-gilt. 

32.  Beaker.  On  three  ball-feet.  Augsburgh.  Original,  silver,  parcel-gilt. 

33.  Goblet.  German,  17th  century.  Original,  silver-gilt. 

34.  Tankard  and  Cover.  German,  17th  century.  Man  slaying  a Centaur  on 

top,  with  Bacchanalian  group  below.  Original  in  carved  ivory  and  silver. 
By  Bernard  Strauss. 

35.  Goblet.  (Agate.)  English  ; Hall-mark  1567.  Original,  silver-gilt. 

36.  Goblet.  Russian,  17th  century.  Medallions  of  the  Seasons.  Original, 

silver-gilt. 

37.  Beaker.  Russian,  16th  or  17th  century.  Original  in  silver,  parcel-gilt. 

38.  Cocoa  Cup.  German,  1585.  Original,  silver-gilt. 

39.  Augsburgh  Ewer.  Original,  silver-gilt,  in  the  Louvre.  Commemorates 

the  siege  of  Algiers  by  Charles  V. 

40.  Pax.  For  communicating  the  kiss  of  peace,  and  representing  the  Virgin 

giving  a vestment  to  St.  Udefonso.  Spanish,  1540.  Original  silver-gilt. 

41.  Bottle.  Inform  of  Pilgrim’s  flask.  French  or  German,  17th  century. 
Original  of  silver. 


OF  OBJECTS  IN  THE  SOUTH  KENSINGTON  MUSEUM. 


39 


42.  Helmet  of  Francis  I.  Silvered-oxydized.  1545.  Original  in  Museum  of 

Artillery,  Paris. 

43. *  Head-piece.  Italian,  16th  century.  Marine  genii  holding  a warrior’s 

head,  whose  body  forms  the  crest.  Silvered-oxydized.  Original  in  the 
Museum  of  Artillery,  Paris. 

44. *Head-piece.  Italian,  16th  century.  David  and  Goliah  on  one  side.  Sil- 

vered-oxydized. Original  in  the  Museum  of  Artillery,  Paris. 

45.  Entombment  of  Christ.  Bas-relief  after  Donatello.  Italian,  15th  century. 

Original,  in  bronze,  in  Vienna. 

46.  47.  Bowls,  with  covers.  Arab.  Original  in  brass  damascened. 

48  Hannibal  Dish.  German,  1567,  with  Roman  figures. 

49.  Plaque.  Entombment  of  Christ.  Spanish,  17th  century. 

50.  Salver.  Arab,  with  Moresco  chasings. 

51.  52.  Bowls.  French,  about  1330.  Original,  silver. 

53 

54.  Salver.  Italian,  16th  century.  Arabesque.  Original  in  brass  gilt. 

55.  Salver.  Venetian,  16th  century ; with  battles,  sieges.  Original  in  bronze  gilt. 

56.  Salver.  Italian,  16th  century.  Medallions.  Original,  brass  gilt. 

57.  Plateau.  Italian,  1820.  Silver-oxydized. 

58.  Bowl.  Arab,  14th  century.  Original,  brass  damascened. 

59.  Bucket.  Arab,  14th  century.  Original,  brass  damascened. 

60.  Nautilus  Shell.  Mounted  in  metal.  Italian,  16th  century.  Supported  by 

seated  Naiad  ; Sirens  below. 

61.  Ewer.  Dragon  handle,  with  Roman  subjects.  Italian,  16th  century. 

62.  Tazza.  Representing  the  Deluge.  Italian,  16th  century. 

63.  Salver.  Portuguese,  15th  century.  Figures  in  high  relief.  Original  in 

silver  gilt. 

64.  Salver.  English,  1719-20.  Original  of  silver. 

65.  Cup.  English,  1720.  Original  of  silver. 

66.  Tazza.  Italian,  16th  century.  Classical  figures.  Attributed  to  Benvenuto 

Cellini.  Original  in  the  Louvre. 

67.  Tazza  Italian.  Silvered-oxydized.  By  Lionnet,  Paris.  Same  subject  as 

No.  66,  by  B.  Cellini. 

68.  Tazza  Italian.  Silvered-oxydized.  By  Lionnet,  Paris.  Original,  by  B. 

Cellini,  in  the  Louvre. 

69.  Bowl,  or  Plateau.  Moorish.  Original  of  brass. 

70.  Candlestick.  (Base  only.)  Arab,  14th  century.  Original,  brass  damascened. 

71.  Candlestick.  Venetian,  16th  century.  Persian  or  Moresque  design.  Origi- 

nal in  bronze. 

72.  Plateau.  Dutch,  about  1690.  Original  in  silver. 

73.  Ewer.  Venetian,  16th  century.  Original  in  brass  gilt. 

74.  Tazza  and  Cover.  French,  1851.  Original,  silver  and  jewelled,  parcel-gilt. 

75.  Candlestick.  Italian,  16th  century.  Original  of  bronze. 

76.  Vase  and  Cover.  English,  1772.  A boy  on  the  top  ; handles  of  Satyr 

heads.  Original,  silver-gilt. 

77.  Mirror-case,  or  Martelli  Bronze.  Italian,  15th  century.  Allegory  of  Pro- 

ductiveness, with  a legend.  Original  of  bronze,  inlaid  with  silver. 

78.  Incense-burner.  Belgian,  1851.  Arabesque.  Original  of  iron  damascened, 

by  Falloise,  of  Liege. 

79.  80.  Pair  of  Bowls,  with  Covers.  Arab.  Original  of  brass  damascened. 

81.  Sword  of  Francis  I.  Original  in  the  Museum  of  Artillery,  Paris.  Elec- 

trotyped  by  Lionnet,  Paris. 

82.  Real  Cloisonne  Enamel  Dish,  representing  St.  George  and  the  Dragon,  on 

enamelled  stand,  with  pedestal  of  golden  bronze. 

83.  84.  Pair  of  Small  Plates,  Cloisonne,  enamelled  both  sides,  on  bronze  stands. 

Subject:  “Puck.”  Centennial  Exhibition. 

85,  86.  Two  Gilt  and  Oxydized  Dishes,  representing  the  months  of  the  year. 
Centennial  Exhibition. 

87.  One  Gilt  and  Oxydized  Emperor’s  Tankard.  Centennial  Exhibition. 

88.  Engraved  Glass  Magnum  Bonum  Claret  Jug.  Subject:  A Fox  Hunt. 

Height,  16 % inches;  width  9 inches.  This  elegant  article  is  from  the 


* On  the  wall,  over  the  Suits  of  Armor. 


40 


MONUMENT  OF  FREDERICK  II. 


exhibit  of  John  Millar  & Co.,  of  Edinburgh,  Scotland,  in  the  Centennial 
Exhibition.  Capacity,  over  a gallon  and  a half. 

89.  Shakspeare  Dish,  gold  gilt,  containing  Medallion  of  Shakspeare,  10  inches 

in  height,  surrounded  by  scenes  from  his  various  plays.  Reproduced  by 
Elkington  & Co.  from  an  old  repoussb  plate  in  the  South  Kensington 
Museum;  artist  and  history  of  it  unknown. 

90.  Tankard  and  Clover,  in  Fictile  Ivory,  mounted  in  metal,  parcel-gilt.  Same 

subject  as  No.  34,  (which  see;)  but  as  the  original  was  of  carved  ivory, 
this  is  a more  exact  imitation  of  it.  17th  century. 

40.  Fire-Dogs,  in  copper  bronze.  4”-  Italian,  1 6th  century. 

Subject — Venus  and  Adonis.  Reproduced  by  Elkington  & Co.,  from  the 
original  in  the  South  Kensington  Museum. 

41.  Copper-Bronze  Knocker.  i4j?in.  x wii.  17th  century. 

Orignal  in  the  Kensington  Museum,  and  attributed  to  John  of  Bologna. 

42.  43.  Statuettes  of  Christ  and  John  the  Baptist.  3ft.5^in 

In  copper  bronze,  by  Elkington  & Co.,  London.  From  the  original  by 
John  of  Bologna,  in  the  Cathedral  of  Pisa. 

44.  Theseus  Slaying  tiie  Centaur.  Bronze.  4ftH3'in.3ft1i'oin.  A.  L.  Barye. 

A classical  group,  treated  with  immense  power.  The  Centaurs  were  a 
savage  tribe  of  Thessaly,  and  being  great  horsemen,  the  Greeks  fancied 
them  to  be  half  man  and  half  horse.  To  a feast,  in  honor  of  his  marriage, 
Perithous,  king  of  the  Lapithse,  invited  the  Centaurs  and  some  of  the  gods  ; 
but  Mars,  not  being  invited,  revenged  the  slight  by  filling  Eurythion,  the 
Centaur,  with  wine  and  love  for  the  bride.  Theseus  resented  the  insult 
by  putting  Eurythion  to  death,  and  in  the  fierce  war  that  followed,  the 
Centaurs  were  vanquished  by  Theseus  and  his  allies. 

45.  Bronze  Bust  of  John  C.  Calhoun.  By  Clarke  Mills.  1850. 

The  original,  in  plaster,  was  taken  from  life  by  Mr.  Mills  in  1845. 

46.  Suit  of  Armor  in  Nineteen  Pieces.  Italian,  16th  Century. 

Silver-oxydized.  Original  in  the  Museum  of  Artillery,  Paris.  Repro- 
duced by  Elkington  &Co.,  London. 

47.  Monument  to  Frederick  II,  (the  Great,)  of  Prussia. 

H.  With  Pedestal, 

5 ft.  2 in.  7 ft.  7 in. 

A superb  bronzed  reduction  of  the  original  bronze  work  in  Berlin,  by 
Christian  Rauch,  1851,  considered  one  of  the  noblest  monuments  ever 
erected.  The  person  of  the  king  is  given  with  all  his  peculiarities,  and  ad- 
mirably dominates  the  various  masses  and  details  of  the  composition.  The 
reliefs  of  the  upper  section  represent  epochs  in  his  life:  1.  His  birth;  2. 
Education;  3.  Minerva  presenting  a sword ; 4.  After  the  battle  of  Kolin ; 5. 
Love  of  Art;  G.  Taste  for  music;  7.  Promotion  of  Commerce;  8.  Apothe- 
osis. At  the  corners  are  figures  of  Moderation,  Justice,  Wisdom,  and 
Strength.  At  the  corners  of  the  central  section  are  equestrian  statuettes  of 
Prince  Henry  of  Prussia,  Prince  Ferdinand  of  Brunswick,  Gen.  Ziethen, 
and  Gen.  Seydlitz.  The  lower  section  bears  the  names  of  many  eminent 
generals.  Height  of  the  original  monument,  40  feet.  From  the  Centennial 
Exhibition.  Purchased  by  Mr.  Corcoran. 

48.  Bronzed  Reduction  of  the  Monument  of  tiie  Great  Elector, 

(on  a rotary  column.)  By  A.  Schlatter.  Berlin,  1703. 

Height  of  Monument.,  With  Pedestal, 

26  in.  6 ft.  2 in. 

^ The  figures  at  the  corners  below  represent  slaves.  From  the  Centennial 
Exhibition.  Purchased  by  Mr.  Corcoran. 

49.  50.  Statuettes  of  the  Emperor  Frederick  William  and 

Crown  Prince  of  Germany.  3% 

From  the  Centennial  Exhibition.  Purchased  by  Mr.  Corcoran. 

51.  Bronze  Japanese  Yoshitauee  Vase.  5ft.^ln  x^6ln  Cent’l  Exhib. 
This  vase  takes  its  distinctive  title  from  its  bass-reliefs  of  scenes  in  the 


JAPANESE  AND  CHINESE  BRONZES,  &C. 


41 


life  of  Japan’s  hero,  Toshitaure . On  one  side  he  is  seen  as  a boy  secluded 
in  a ravine  studying  wisdom  and  war  from  old  Saradahiko,  chief  spirit  of 
the  mountain.  On  the  other  side,  after  having  become  a great  general,  he 
attempts,  disguised  as  a travelling  priest,  with  his  servant,  to  enter  the  terri- 
tory of  his  jealous  brother.  At  the  guard-house  he  is  questioned  by  the 
suspicious  official.  Feigning  rustic  speech,  he  makes  his  servant  knock 
him  (Yoshitaure)  down  and  pound  him,  which  so  pleases  the  guard  that 
they  are  allowed  to  pass  in.  Within  this  section  of  the  vase  is  a brazen  ves- 
sel for  fire,  and  the  perforated  upper  section  is  a censer,  surmounted  by 
the  god  Hohodermi,  who,  descending  into  Japan  standing  on  a dragon,  in- 
troduced letters  and  writing.  See  “ The  Mikado’s  Empire,”  by  Prof.  W. 
E.  Grifl'as. 

The  vase  represents  rocks,  trees,  and  cascades,  with  birds,  whose  forms 
and  plumage  are  wrought  in  a style  equal  to  European  art. 

52.  Case  of  Japanese  Articles  and  Musical  Instruments,  the 

latter  presented  by  the  Kiriu  Kosho  Company,  of  Japan. 

1.  Gold  lacquered  glove-box.  2.  Music-stand.  3.  Black  lacquered  box, 
for  holding  India  ink,  palette,  knife,  &c.  4.  Black  lacquered  box.  5. 

Harp.  6.  Chess-board.  7.  Set  of  checkers.  8,  9.  Flutes.  10,  11.  Fla- 
geolettes.  12,  13,  14,  15.  Drums.  16.  Violin.  17.  Guitar.  18.  Back- 
gammon-board. 19.  Checker-board.  20.  Large  Drum. 

53.  Large  “Arita”  Porcelain  Japanese  Vase,  (lacquered.)  ^ 

Centennial  Exhibition.  Purchased  by  Mr.  Corcoran.  This  vase,  like 
those  in  the  Vestibule,  is  of  a size  and  style  seldom  made. 

54.  Half  Size  (3  feet)  Corinthian  Bronze  Statuette  of  Augus- 

tus Cassar,  in  military  dress. 

This  magnificent  statuette  is  by  Boschetti.  The  original,  in  marble,  was 
discovered  in  Rome  in  1863,  and  is  considered  one  of  the  finest  statues  of 
antiquity.  It  represents  Augustus  in  his  45th  year.  The  resemblance  of 
the  features  to  those  of  the  “Crowned  Augustus”  bust  and  the  Robed  Au- 
gustus is  obvious. 

55.  56,  57.  Chinese  Vases  and  Square  Table  Cloisonne,  300 

YEARS  OLD. 

These  are  rare  examples  of  the  skill  of  the  Chinese,  who  originated  this 
style  of  working  in  metal.  Cloisonne  is  taken  from  the  word  cloison,  or  cell. 
When  a design  was  made  on  metal,  brass  wire  was  attached  and  soldered  to 
the  lines  of  the  figure,  and  soldered  to  the  metal  plate.  Into  the  cloisons  or 
cells,  between  the  wire,  was  placed  the  enamel  of  various  hues.  A close 
inspection  of  these  articles  will  show  the  amount  of  skill  and  labor  bestowed 
in  this  art,  in  which  the  Chinese  and  Japanese  have  taught  Europe.  From 
the  Centennial  Exhibition. 

58.  Large  Japanese  Porcelain  Bowl,  decorated,  3 feet  in  diame- 

ter, 7 inches  in  depth.  Centennial  Exhibition. 

59.  Colossal  Head  of  Napoleon  I.  Marble.  28Hin.  By  A.  Canova. 

A copy  by  Canova  of  the  head  of  the  colossal  statue  of  Napoleon  I,  which 
he  modelled  from  the  Emperor  at  Paris,  in  1805. 

Antonio  Canova  was  born  in  Passagno,  Italy,  in  1757,  and  died  in  1822, 
He  displayed  his  genius  at  an  early  age.  Hemade  his  first  statue,  Orpheus, 
when  in  his  nineteenth  year,  and  four  years  after  he  astonished  the  world 
by  his  “ Theseus  and  Minotaur.”  Success  and  riches  followed  his  subse- 
quent works,  embracing  almost  every  kind  of  subject.  Among  them  was 
a sitting  statue  of  Washington,  for  the  State  of  North  Carolina.  He  had 
great  simplicity  of  character,  and  towards  the  close  of  his  life  his  chisel 
was  devoted  to  religious  subjects. 

60.  Bust  of  Alsace.  Original  in  Bronze.  Gregoire.  187-. 

This  reduced  cast  is  to  he  found  everywhere  in  France,  from  its  forcible 
personation  of  the  province  taken  from  that  country  by  Germany. 


42 


JAPANESE  AND  CHINESE  BRONZES,  AC. 


61.  Jaguar  Devouring  a Hare.  Bronze.  16^  x 3 ft^-2 in  ByA.L.  Barye. 

62.  Antique  Head  of  Ceres.  In  marble.  ,3^-ln. 

The  sculptor  of  this  fine  work  and  its  history  are  unknown  beyond  the 
fact  that  it  once  belonged  to  the  National  Institute,  was  afterwards  trans- 
ferred to  the  Smithsonian  Institution,  and  by  the  latter  deposited  in  this 
Gallery  of  Art.  The  features  are  of  a pure  classic  mould,  and  their  benig- 
nant expression,  with  the  crown  of  bearded  wheat,  well  represent  the  god- 
dess of  grain  and  harvests. 

63.  'J  [Tie  Milton  Shield.  Electrotype  reproduction.  By  Elkington. 

The  original  was  designed  and  wrought  in  silver  and  steel  repoussd,  by 
M.  Morel  Ladeuil,  England,  for  the  Paris  Exposition  of  1867.  The  British 
Government  bought  it  for  the  Kensington  Museum  for  $15,000.  It  repre- 
sents scenes  from  Paradise  Lost.  In  the  centre  Raphael  rehearses  to  Adam 
and  Eve,  seated  in  the  leafy  bower  of  Eden,  the  story  of  the  war  in  Heaven 
and  defeat  of  the  rebel  angels.  On  the  left  the  loyal  host  is  rushing  to 
attack,  while  on  the  right  the  vanquished  rebels  are  “ hurled  headlong  flam- 
ing” to  perdition.  Below  these,  Michael,  with  uplifted  sword,  tramples 
upon  the  prostrate  body  of  the  Dragon,  and  at  the  bottom  are  the  repulsive 
forms  of  Sin  and  Death.  The  signs  of  the  zodiac  indicate  the  rolling 
year,  and  over  all  soar  angelic  shapes  toward  the  cherub-circled  emblem  of 
Light  and  Life.  Oval.  H.,  2 ft.  10  in.  Width,  2 ft.  2 in. 

64.  The  Pompeian  Toilet.  Electrotyped.  By  Elkington. 

From  the  original  work,  designed  and  hammered  out  (repoussS)  in  silver, 
with  damascened  tracery  in  gold  and  silver,  by  M.  Ladeuil,  who  was  two 
years  engaged  in  its  execution  with  his  own  hand,  for  the  Centennial  Exhi- 
bition. It  was  valued  at  $7,500.  For  classical  conception  and  exquisite 
workmanship,  it  is  pronounced  unrivalled.  In  a court  surrounded  by  gar- 
landed Ionic  columns,  vases  of  flowers,  &c.,  a Pompeiian  lady,  just  from 
the  bath,  reclines  demi-nude  on  her  couch,  while  her  handmaidens  perform 
her  toilet.  One  ties  on  her  sandal,  another  binds  her  locks  with  a chain, 
and  a third  stands  ready  with  a robe  to  shroud  the  still  unveiled  charms  of 
her  mistress,  who  smilingly  surveys  herself  in  a metal  mirror.  Besides  the 
general  grace  of  forms,  the  faces  are  full  of  expression.  Circular.  W. , 20  in. 

65.  Bust  of  Washington.  Bronze.  By  Clark  Mills.  1849. 

From  Houdon’s  original  bust  in  plaster,  .1785.  Presented  by  Mr.  Mills. 

66.  Bust  of  Henry  Clay.  In  marble.  By  Joel  T.  Hart. 

Considered  the  standard  bust  of  the  great  orator  and  statesman. 

67.  Marble  Bass-Relief  of  a Bacchante.  Circular.  Dia.  21|  in. 

From  the  Smithsonian  Institution.  History  unknown.  Said  to  have  been 
found  in  Pompeii. 

68.  Bust  of  the  late  Dr.  J.  C.  Hall.  Bronze.  By  H.  K.  B.  Brown.  1880. 

69.  Bust  of  the  late  Wm.  J.  Stone.  Marble.  Hiram  Powers. 

Presented  by  Mrs.  E.  J.  Stone. 

70.  Bronze  Statuette  of  a Cow.  9”n.  x uLin.  H.  K.  Bush  Brown.  1883. 

SECOND  FLOOR. 

HALL. 

1.  Colossal  Bust  of  Lucius  Verus.  2ft.Ii6in  Marble,  in  Louvre. 

From  the  original  found  in  RomaVecchia.  Lucius  Verus  was  the  un- 
worthy son-in-law  of  the  “good  Aurelius,”  and  shared  the  throne  of  Rome 
from  161  A.  D.  to  169.  He  was  wasteful  and  profligate.  He  fed  his  horse  on 
almonds,  clothed  him  in  royal  purple,  and  had  a gold  statue  of  him  made. 

2.  Colossal  Bust  of  Marcus  Aurelius.  35^in.  Marble.  Villa  Borgbese. 

The  “good  Aurelius”  was  born  121  A.  D.,  and  reigned  from  161  to 
180  A.  D. 


Main  Gallery  of  Paintings. 

(second  floor.) 

“ Oh,  thou,  by  whose  expressive  art, 

Her  perfect  image  Nature  sees, 

In  union  with  the  Graces  start, 

And  sweeter  by  reflection  pleas ! 

On  whose  creative  hand  the  hues, 

Fresh  from  yon  orient  rainbow,  shine ; 

I bless  thee,  Promethean  Muse, 

And  hail  thee,  Brightest  of  the  Nine ! ” 

— Thomas  Campbell. 

1.  Portrait  of  William  W.  Corcoran,  Esq.  s rt.H2  in.  x 5 tJi6  in. 

By  Charles  L.  Elliott.  1867. 

The  artist  of  this  magnificent  work  was  born  in  1812,  and  after  studying 
his  art  in  New  York  city,  returned  to  practise  portrait  painting  in  the  interior 
of  that  State.  Soon  after,  he  got  possession  of  a head  painted  by  Gilbert 
Stuart,  which  first  opened  his  eyes  to  the  dignity  and  splendor  of  true  por- 
traiture, and  the  constant  study  of  which  doubtless  placed  his  fame  alongside 
of  that  of  Stuart  himself.  He  died  in  1868. 

2,  3.  The  Departure  and  The  Return.  as^i.xiiTn. 

By  Thomas  Cole.  1837. 

These  pictures  illustrate  Cole’s  peculiar  genius,  in  associating  human  inci- 
dent with  noble  forms  of  scenery.  In  the  first,  a cavalcade  of  knights  issue 
from  an  imposing  castle  on  a bright  summer  morning  on  a warlike  expedition. 
Hope  and  victory  seem  to  animate  them  as  they  follow  their  leader  mounted 
upon  a white  steed,  in  spite  of  the  warning  of  a holy  palmer,  who  waves  a 
palm  branch  before  them.  Such  is  the  Departure.  The  other  picture  shows 
the  sad  Return.  At  the  close  of  an  autumn  day  we  see  the  wounded  gay 
leader  of  the  morning  stretched  upon  a litter  borne  by  some  foot  soldiers  to 
an  abbey,  whence  issue  some  monks  to  meet  them,  only  one  drooping  cava- 
lier following  the  riderless  horse.  The  palmer  is  there  again,  but  now  raises 
his  hands  in  pity. 

Thomas  Cole  was  born  in  England  in  1801,  and  came  to  this  country 
when  young.  His  tastes  and  professional  skill  were  finely  cultured  by 
two  tours  in  Europe,  but  he  ever  preferred  the  scenery  of  the  New  World 
- — on  one  occasion  writing  that  “neither  the  Alps,  Appenines,  nor  TEtna 
itself,  have  dimmed  in  my  eyes  the  beauty  of  the  Catskills.  ” Among  his  be- 
loved hills  he  died,  in  his  forty-eighth  year.  The  moral  and  religious  bent  of 
his  mind  was  displayed  in  the  series  of  pictures  illustrating  “ The  Course  of 
Empire”  and  a “Voyage  of  Life  and  he  died  while  at  work  upon  his  “ Pil- 
grim Entering  Heaven.”  His  immediate  friends  were  men  of  the  highest 
moral  culture  and  intellectual  distinction. 

4.  The  "Watering  Place.  3ft.4«in.  x5ftW8in.  By  Adolphe  Schreyer. 

The  artist  of  this  picture  is  famed  for  the  spirited  action  he  gives  to  his 
horses  in  a cavalry  charge,  or  in  the  furious  gallop  of  a storm-caught  wagon 
team ; but  here  we  see  a new  phase  of  his  power  in  the  strife  of  rough,  worn 
farm  horses  over  a water-trough.  The  scene  is  supposed  to  be  in  Hungary, 
and  shows  Schreyer’s  peculiar  broad,  vigorous  handling  and  vivid  force  of 
light. 

5.  Nedjma — Odalisque.  a £1  in.  z¥k.  By  G.  C.  St.  Pierre.  1874. 

The  high  reputation  of  the  artist  is  shown  in  the  words,  “ Exempt  from  ex- 
amination,” on  the  frame,  as  it  was  placed  there  when  admitted  to  the  Paris 
Exposition,  1874,  in  the  catalogue  of  which  it  appears  as  No.  1628.  This 
compliment  is  always  paid  to  artists  of  established  fame,  and  well  does  this 
picture  support  the  honor.  In  rich  transparency  and  harmony  of  color 

43 


44 


MAIN  GALLERY  OF  PAINTINGS. 


throughout  it  seems  perfect.  The  flesh  tints  are  nature’s  own,  and  the  tex- 
ture and  surface  of  the  various  stuffs  and  other  accessories  are  given  with  the 
highest  finish. 

6.  Edge  of  the  Forest.  6j4ft.x5ftW4m.  By  A.  B.  Durand.  1871. 

A fine  example  of  this  veteran  landscapist,  the  last  of  the  trio  that  headed 
that  branch  of  art  twenty-five  years  ago — Cole  and  Doughty  being  his  peers. 
Having  neither  the  epic  style  of  Cole,  nor  the  poetic  fancy  and  pastoral  soft- 
ness of  Doughty,  he  equalled  both  in  representing  pure  nature  and  his  close 
study  of  her  subtler  details.  His  rocks,  and  particularly  his  trees,  are  always 
rendered  with  a characterization  that  leaves  no  doubt  of  their  kind.  From  such 
elements  as  are  combined  in  this  picture — a simple  outlook  across  the  Hudson 
from  the  skirt  of  a forest — he  gives  a picture  full  of  feeling,  of  power,  and  of 
nature. 

Mr.  Durand  was  born  in  1796,  and  enjoys  an  honored  old  age,  being 
still  able  to  use  his  pencil.  In  early  life  he  learned  the  art  of  engraving,  and 
soon  distinguished  himself  by  his  skill.  His  first  work  was  on  Trumbull’s 
Declaration  of  Independence.  His  engraving  of  Vanderlyn’s  “Ariadne  Sleep- 
ing ” gained  him  an  European  reputation.  From  this  art  he  acquired  the  fine 
drawing  shown  in  his  pictures.  He  next  took  up  painting,  and  portraits 
formed  his  first  essays.  Subjects  of  genre  next  occupied  him,  but  finally  his 
genius  found  its  true  field  in  landscape,  with  which  his  name  and  fame  are 
mostly  identified.  Mr.  Durand  was  for  many  years  president  of  the  National 
Academy  of  Design. 

7.  The  Vestal  Tuccia.  * 8 «.  in.  By  Hector  Leroux.  1874. 

This  picture  carried  off  a second-class  gold  medal  at  the  Paris  Exposition  of 
1874 — on  the  catalogue  No.  1194.  The  Vestal  Tuccia,  charged  with  want  of 
chastity,  stands  on  the  brink  of  the  Tiber  with  a sieve,  which  she  raises  above 
her  head  with  both  hands,  and  thus  prays  to  Vesta  : “ Oh,  powerful  Goddess, 
if  I have  always  approached  thy  altar  with  pure  hands,  allow  me  to  fill  this 
sieve  with  the  water  of  the  Tiber,  and  carry  it  into  thy  Temple  ! ” In  fine 
harmony  with  this  incident,  the  artist  has  employed  purity  of  design  and  cool, 
chaste  coloring.  The  shores  and  wharves  of  the  Tiber  are  given  with  strict 
local  truth.  The  whole  interest  converges  upon  the  form  of  Tuccia,  while 
distant  masses  of  the  people,  a near  group  of  Vestals,  and  a solitary  fisher-boy 
in  the  foreground,  watch  her  in  eager  expectation  of  the  issue  of  the  miraculous 
test. 

8.  Edict  of  William  the  Testy.  3ftH6^.  5 ftw6'^.  G.  H.  Boughton.  1877. 

Illustrates  the  following  passage  in  Irving’s  “Knickerbocker’s  History  of 
New  York,”  Chap.  8 : 

“Finally  he  issued  an  edict  prohibiting  the  smoking  of  tobacco  throughout 
New  Netherlands.  * * * The  immediate  effect  of  it  was  a popular  commo- 

tion. A vast  multitude  armed  with  pipes  and  tobacco  boxes,  and  an  immense 
supply  of  ammunition,  sat  themselves  down  before  the  Governor’s  house,  and 
fell  to  smoking  with  tremendous  violence.  The  testy  William  issued  forth 
like  a wrathful  spider,  demanding  the  reason  of  this  lawless  fumigation.  The 
sturdy  rioters  replied  by  lolling  back  in  their  seats,  and  puffing  away  with 
redoubled  fury.” 

The  humor  of  Irving  is  well  conveyed  by  the  artist’s  treatment  of  a subject 
which,  though  essentially  farcical,  is  free  from  buffoonery,  and  given  with  a 
solemn,  Dutch  gravity  irresistibly  droll.  The  “rioters”  look  calmly  at  the 
irate  Governor,  threatening  with  uplifted  cane.  His  angry  face  and  the  vinegar 
aspect  of  his  dame  are  in  laughable  contrast  to  the  imperturbable  rebels  send- 
ing out  defiant  streams  of  smoke.  Most  conspicuous  among  them  are  the 
trumpeter,  Antony  Von  Corlaer,  in  regimentals  of  scarlet  and  gold  lace  ; the 
burly  form  of  Brinkerhoff,  (hero  of  the  clam  and  onion  war  against  the 
Yankees,)  with  thumbs  in  his  belt;  the  stiff,  upright  figures  of  two  puritans 
in  dark  dress  and  conical  hats,  and  a sturdy  craftsman  seated  on  an  inverted 
basket,  with  face  turned  up  to  the  Governor,  as  though  saying,  “ Well,  what  are 
you  going  to  do  about  it  ?”  Beyond  this  group  is  a swarm  of  Dutch  maidens 
and  lads,  the  latter  hurrying  to  the  front  with  fresh  pipes,  and  back  open  is 
the  open  street  of  the  tobacco-shops,  where  some  villagers  in  baggy  breeches 
buy  more  “ammunition.” 


MAIN  GALLERY  OF  PAINTINGS. 


45 


In  addition  to  its  harmony  of  color  and  transparency  of  shadow,  there  is  a 
charming  airy  luminousness  resting  over  the  picture,  as  though  it  were  really 
an  out-door  scene. 

The  picture  was  painted  to  order  for  this  Gallery. 

9.  The  Drove  at  the  Ford.  it.  * 3 rtW2  m.  By  James  M.  Hart.  1874. 

Considered  the  finest  picture  ever  painted  by  Mr.  Hart.  The  scene  is  such 
as  every  rambler  along  a wood-stream  has  met  with,  and  therefore  it  steals 
over  us  with  all  the  charm  of  a personal  reminiscence.  At  the  close  of  day 
the  drove  is  leaving  the  dusty  road  to  cross  a cool,  shadowy  stream,  over- 
arched by  trees.  The  leading  animals  and  nearer  trees  of  this  picture  are 
all  painted  from  nature. 

James  Hart  is  one  of  two  brothers,  born  in  Scotland,  and  coming  to  this 
country  at  an  early  age,  were  both  apprenticed  to  a coach  painter,  and  both 
soon  took  up  landscape  painting.  James  went  to  Dusseldorff  in  1851,  and, 
after  a year’s  study,  returned  home,  and  is  now  successfully  following  his  pro- 
fession in  New  York  city.  He  gives  a special  interest  to  his  landscapes  by 
the  introduction  of  animals. 

10.  Shepherd  and  Sheep.  sun.x49hi.  By  Eobbe. 

11.  Landscape.  Companion  to  the  above.  X4!Un.  By  Eobbe. 

12.  The  Amazon  and  Her  Children.  3ftH5m.  xsrt^in.  ByE.  Leutze.  1851. 

This  classical  work  is  colored  much  in  Leutze’s  early  style,  which  was  warm 
and  florid — unlike  his  later  manner,  acquired  at  Dusseldorf,  as  may  be  seen 
by  comparing  “ The  Amazon  ” with  his  “ Cromwell  and  Milton.” 

13.  Ideal  Female  Head.  3<Hn.  x slin.  Thomas  Sully. 

14.  Paddy’s  Mark.  24Hin.  xsTin.  By  Erskine  Nicol,  A.  E.  A. 

A brilliant  specimen  of  genre  of  the  British  school,  representing  an  Irish 
farmer  about  to  put  his  mark  to  a lease,  while  he  looks  up  with  hesitating 
inquiry  into  the  bland  face  of  the  attorney  or  steward,  whose  smooth  man- 
ner assures  Paddy  that  it  is  all  right.  The  incident  is  admirably  told,  and 
every  part  of  the  work  painted  with  great  force  and  clearness. 

15.  Euins  of  the  Parthenon.  28‘jn.  62^.  By  Sanford  E.  Gifford.  1880. 

This  classical  work  was  the  most  important  executed  by  the  artist  within 
a few  months  of  his  death  in  August,  1880.  It  displays  the  same  skill  in 
architectural  accuracy,  in  fine  color,  and  sympathy  with  the  associations  of 
this  noblest  fane  of  ancient  Greece,  that  mark  his  representations  of  the  sub- 
lime or  beautiful  landscapes  of  America  and  Europe.  The  subject  is  treated 
quietly,  with  no  scenic  appeals  of  form  or  effect.  The  calmest  of  skies  broods 
over  the  distant  mountains,  “ the  tender  azure  of  the  unruffled  deep,”  and  the 
cream-colored  ruins ; blending  beauty  with  solitude  and  desolation  that  makes 
us  feel,  “’Tis  Greece,  but  living  Greece  no  more  ! ” 

The  view  looks  south  from  the  Acropolis  over  the  head  of  the  Saronic  Gulf. 
The  ruins  of  one  side  of  the  Parthenon  is  on  the  left,  and  on  the  right  is  a 
portion  of  the  Erectheum,  with  its  portico  supported  by  the  graceful  forms  of 
the  Caryatids.  The  high  square  red  tower  near  it  is  considered  to  be  one  of 
the  numerous  signal-towers  built  on  the  shores  of  the  Levant  by  the  Venetians 
or  Genoese,  before  Athens  was  held  by  the  Turks. 

Mr.  Gifford  was  born  in  New  York  State  in  1823.  He  first  went  to  Europe 
in  1855,  and  afterwards,  in  1868,  he  extended  his  tour  to  the  East;  on  each 
visit  remaining  two  years.  In  1861  and  1862-3,  he  was  a private  in  the  famous 
Seventh  Regiment  of  New  York,  while  stationed  at  Washington  and  Baltimore. 

16.  

17.  Mercy’s  Dream.  7ftH5in.  xsft^'in.  By  D.  Huntington.  1850. 

The  scene  which  this  picture  illustrates  is  from  Bunyan’s  Pilgrim’s  Progress, 
and  is  as  follows  : “A  sweet  dream  it  was.  * * * Methought  I looked  up 

and  saw  one  coming  with  wings  towards  me.  So  he  came  directly  to  me,  and 
said,  ‘ Mercy,  what  aileth  thee  ?’  Now,  when  he  had  heard  me  make  my  com- 
plaint, he  said,  ‘ Peace  be  to  thee ! ’ He  also  wiped  my  eyes  with  his  hand- 


46 


MAIN  GALLERY  OF  PAINTINGS. 


kerchief,  and  clad  me  in  silver  and  gold.  He  put  a chain  about  my  neck,  and 
ear-rings  in  my  ears,  and  a beautiful  crown  upon  my  head.” 

This  picture  is  an  improved  duplicate  of  the  one  owned  by  Mr.  Carey,  of 
Philadelphia,  and  has  been  engraved  for  the  American  Art  Union.  It  made  a 
great  impression  when  first  exhibited,  being  one  of  the  first  great  pictures  of 
its  class  painted  by  American  artists,  and  it  still  justly  holds  a high  position 
by  the  spiritual  nobleness  of  the  subject,  and  the  style  of  its  execution.  The 
form  of  the  angel  is  considered  unsurpassed  for  buoyant  grace  and  ethereal 
aspect,  while  its  exquisite  tints,  play  of  light,  and  the  lustrous  sheen  of  the 
wings,  are  notable  examples  of  that  strong  point,  color , in  the  American  school 
of  painting. 

Mr.  Huntington’s  pencil  has  embraced  every  branch  of  his  art,  being  also 
distinguished  in  portraiture  and  landscape.  He  was  born  in  1816,  studied  his 
art  in  Italy,  and,  after  a long  career  of  success  and  honor,  is  now  president  of 
the  Academy  of  Design. 

18.  Scenery  of  the  Magdalena  River,  Granada.  26Hin.  x mi'd. 

By  Frederick  E.  Church.  1854. 

This  picture  is  by  the  painter  of  the  “ Heart  of  the  Andes,”  and  is  his  first 
landscape  of  South  American  scenery,  painted  after  his  return  to  New  York 
from  that  region,  for  the  late  Abraham  Cozzens.  Perfect  as  a composition, 
it  has  Mr.  Church’s  well-known  truth  of  local  color,  and  the  foreground  is 
worked  up  with  the  delicate  detail  and  characterization  of  foliage  that  distin- 
guishes all  his  works. 

Mr.  Church  was  born  in  Hartford,  in  1826.  He  studied  under  Cole,  and  at 
twenty-four  was  at  the  head  of  his  profession.  For  awhile  he  adopted  the 
epic  style  of  subjects  his  master  loved  to  paint,  but  soon  settled  down  into  the 
representation  of  pure  nature.  After  painting  the  most  striking  scenery  of 
his  native  land,  he  visited  South  America,  and  thence  brought  materials  for 
his  greatest  work,  the  “Heart  of  the  Andes.”  He  afterwards  sought  new 
trophies  in  the  region  of  icebergs.  Having  exhausted  all  the  material  of  the 
Western  Continent,  he  visited  Europe,  Egypt,  and  Palestine.  The  Orient 
supplied  him  with  new  laurels,  showing  that  his  versatile  genius  could  grapple 
with  and  master  the  distinguishing  and  opposite  traits  of  the  scenery  of  all 
lands.  It  is  a general  belief  that  no  artist’s  powers  can  be  fully  developed 
until  he  visits  Italy  ; but  Church  had  attained  the  full  maturity  of  his  genius 
and  skill  long  before  he  went  to  Europe. 

19.  The  Young  Savoyard  Musician.  36Hi'n.  x ■24'in.  By  A.  Collette.  1873.- 

An  attractive  work  in  monochrome.  Its  grave  tone  of  color  is  in  fine  har- 
mony with  the  subject,  and  the  pensive  beauty  of  the  face  of  the  young  vio- 
linist. The  picture  is  from  the  Paris  Exposition  of  1873. 

20.  Night.  7”;.  x < rtWi  in.  By  A.  Rebouet,  Paris.  1873. 

This  personation  of  the  sable  goddess  descending  on  the  back  of  an  owl, 
and  dropping  from  her  right  hand  poppies,  to  “seal  the  eyes  of  slumbering 
mortals,”  is  by  a modern  French  artist,  and  was  in  the  Vienna  Exposition  of 
1873. 

21.  Ca:sar  Dead.  7 aH2  in.  x 10  u in.  By  Jean  Leon  Gerome. 

“ But  yesterday  the  word  of  Caesar  might 
Have  stood  against  the  world  ; now  lies  he  there, 

And  none  so  poor  as  do  him  reverence ! ” 

Gerome  stands  in  the  front  rank  of  the  painters  of  France,  is  a pupil  of  De- 
laroche,  and  member  of  the  French  Institute.  His  style  is  of  the  realistic, 
dramatic  school,  and  his  works  show  the  profound  study,  knowledge  of  form, 
perspective  and  color,  that  attest  the  great  master.  This  picture  is  supposed 
to  be  the  careful  study  of  Caesar  Dead,  which  he  subsequently  extended 
and  used  in  his  more  elaborate  picture  of  the  Death  of  Caesar,  (since  photo- 
graphed,) where  the  conspirators  are  represented  retiring  from  their  bloody 
work,  and  the  interior  of  the  Senate  Hall  is  shown  with  imposing  rows  of 
columns,  desks,  and  other  accessories.  Many,  however,  think  that  in  this 
picture  “the  moral’s  truth  tells  simpler  so.”  The  transitoriness  of  human 


MAIN  GALLERY  OF  PAINTINGS. 


47 


greatness  is  shown  in  the  body  of  the  world’s  late  master  lying  stretched  alone 
in  the  gloomy  desolateness  of  the  Senate  Hall — all  accessories  kept  out  of  sight, 
save  the  fallen  curule  chair,  the  base  of  Pompey’s  statue,  and  the  stony  stare 
of  horror  from  the  Medusa  in  the  pavement,  dabbled  with  the  bloody  foot- 
prints of  the  vanished  conspirators. 

‘ ‘ O mighty  Cassar  ! dost  thou  lie  so  low  ? 

Are  all  thy  conquests,  glories,  triumphs,  spoils, 

Shrunk  to  this  little  measure  ?” 

22.  Winter  Scene.  3b\'o.  x sou.  By  Regis  Gignoux.  1850. 

A French  artist,  who,  after  a successful  career  in  New  York  as  a painter  of 
American  landscape,  returned  to  his  native  country. 

23.  On  the  Coast  of  New  Jersey.  3rtH'4in.x^ft.  W.  T.  Richards.  1883. 

It  is  hardly  necessary  to  point  out  the  merits  of  this  noble  American  picture 
by  a native  artist.  Its  materials,  so  simple  in  form,  so  natural  in  color,  its 
marvellously-expressed  motion  and  exquisite  finish,  wherein  are  no  unmean- 
ing splashes  of  paint,  all  attest  the  genius  that  could  fill  the  subject  with  a 
breadth  and  feeling  that  lap  the  senses  in  repose,  as  though  through 
a window  the  sea  itself,  with  its  music  and  its  motion,  was  spread  before  us. 
On  a plain  bit  of  sandy  shore  roll  in  the  moderate  waves  of  old  ocean,  that 
stretches  afar  in  a wide  horizon,  its  expanse  broken  into  masses  by  the  light 
breaking  through  rifts  of  a cloudy  sky,  brightening  the  horizon  with  a ridge 
of  silver,  and  with  soft,  shimmering  rays  playing  upon  the  trailing  foam  of 
the  recoiling  waves.  Here  is  no  need  to  force  effect  by  picturesque  logs, 
rocks,  or  human  figures.  A gull  or  two  careering  over  the  waves,  and  the 
sheen  of  a schooner’s  sails  on  the  horizon,  only  serve  to  deepen  the  sense  of 
solitude  and  of  vastness. 

The  picture  was  painted  to  order  for  this  gallery.  Mr.  Richards  for  some 
years  devoted  his  art  to  landscape  and  genre,  but  he  has  since  found  that  his 
true  “home  is  on  the  deep.” 

24.  Cattle  on  the  Sea  Shore,  near  Scheveningen,  Holland.  3ft.  fia.  xbn.'im. 

R.  Burnier.  1881. 

Here  is  a coast  scene  of  a different  type — a group  of  cows  standing  on  the 
shore,  near  the  famous  watering-place.  They  have  evidently  “fed  fat” 
their  love  for  their  juicy  native  pastures,  and  now  lounge  and  doze  with  Dutch 
gravity  along  the  shore  that  runs  off  imperceptibly  into  the  calm,  slumbrous 
sea.  Beyond  them  are  the  idle  sail  of  a stranded  vessel  and  a young  girl 
watching  her  charge.  The  sky,  sea,  cows — all  things  seem  hushed  in  an 
afternoon  repose. 

Burnier  is  a native  of  Dusseldorff.  and  this  work  won  a gold  medal  at  the 
Brussels  Exhibition  of  1881. 

25.  Automn  Scene  on  the  Hudson.  3 “i'n. x 48i'n.  Thomas  Doughty.  1850. 

Thirty  years  ago  Doughty  divided  the  honors  with  Cole  as  the  leading  land- 
scape painters  of  America.  He  was  unrivalled  in  the  exquisite  tenderness  of 
his  style  and  color.  His  landscapes  steal  over  and  soothe  the  heart,  as  in  this 
scene,  whose  soft  hues  and  hazy  breath  contrast  strikingly  with  the  sharp, 
forcible  drawing  and  epic  style  of  Cole’s  “ Departure  and  Return.” 

Doughty  was  born  in  Philadelphia  in  1793,  and  died  in  1856.  He  worked 
as  a tanner  until  thirty  years  old,  and  then,  after  only  one  quarter’s  lessons  in 
India-ink  drawing,  took  up  landscape  painting  as  his  profession.  He  made  the 
tour  of  Europe  in  1836.  Skilful  as  he  was  in  autumnal  effects,  he  was  the 
first  American  landscapist  that  adopted  a grey,  silvery  tone  in  his  general  treat- 
ment of  scenery.  The  Annuals  of  forty  years  ago  are  filled  with  engravings 
from  his  works,  that  show  the  poetical  feeling  of  his  style.  His  latter  years 
were  clouded  by  poverty  and  neglect. 

26.  Seaport— Storm  Effect.  !SHiD.x36^.  Attributed  to  Joseph  Vernet. 

27.  Adoration  or  the  Shepherds.  8rtH8in.  xlft.  By  Raphael  Mengs. 

From  the  collection  of  Joseph  Bonaparte,  who  brought  it  from  Spain.  Born 
in  1728,  in  Bohemia,  Mengs  studied  his  art  in  Italy,  and  after  a prosperous 


48 


MAIN  GALLERY  OF  PAINTINGS. 


career  as  artist  and  writer,  died  at  Rome  in  1779.  Inspired  by  his  Italian 
studies,  he  tried  to  infuse  ideal  conception  into  the  decayed  style  of  German  art 
of  his  time.  In  this  picture  he  has  successfully  imitated  the  beautiful  and  origi- 
nal idea  of  Correggio  in  his  “Holy  Night,”  by  making  the  light  of  his  picture 
emanate  from  the  Holy  Child.  Mengs  was  an  able  writer  on  art,  and  a sound, 
judicious  critic.  His  rank  as  an  artist  has  ever  been  a matter  of  dispute.  Winkle- 
man  and  others  are  enthusiastic  over  his  genius  and  ability,  while  by  some  he  has 
been  declared  only  a dull  imitator  of  the  Italian  school,  without  soul  or  invention. 
Surely  this  picture  is  not  only  a worthy  imitation  of  Correggio,  but  shows 
strength  and  fine  color.  The  prostrate  figure  in  the  foreground,  in  foreshort- 
ening and  color,  seems  thoroughly  original,  and  worthy  of  any  master.  His 
best  pictures  were  painted  at  Madrid,  where  he  was  a great  favorite,  and  this 
work  was  brought  away  by  the  ex-King  of  Spain,  Joseph  Bonaparte,  who  had 
facilities  in  securing  good  pictures  and  removing  them  from  his  capital. 

28.  Girl  and  Pets.  On  panel.  24  ®'in.  x zs^’m.  Eastman  Johnson.  1856. 

Its  simple  naturalness  in  cool,  subdued  color,  is  in  this  fine  artist’s  best 
manner.  In  the  beginning  of  his  artistic  career  Mr.  Johnson  was  distin- 
guished for  his  excellent  crayon  portraits  ; but  after  visiting  Europe  he  took 
up  painting,  and  in  the  class  of  genre  subjects  is  the  most  successful  artist  in 
America.  One  of  his  earliest  and  best,  “The  Savoyard  Sweep,”  is  in  the 
possession  of  George  W.  Riggs,  Esq.,  of  Washington. 

29.  Portrait  of  a Lady.  2"in.  x 2^.  Attributed  to  Sir  Peter  Lely. 

30.  Unfinished  Head  of  a Roman  Girl.  Oval.  22Hi'n.  x nTh.  C.  L.  Elliott.  1868 

31.  Rebecca  at  the  Well.  39Hin. x sJhi.  By  T.  P.  Rossiter. 

32.  

33.  

34.  The  Talking  Well.  “ le puits  qui parle."  6 rtHii in. x 3 m2 m. 

By  A.  Yely.  1873. 

This  charming  picture  is  by  one  of  the  leading  figure  painters  of  France. 
The  rnaidep  is  a model  of  rustic  grace,  and  the  coloring  throughout  is  har- 
monious. Its  sentiment  is  delicately  expressed.  The  ‘ ‘ talk  ” may  come  from 
the  well,  but  it  is  evident,  from  the  arch  glance  and  smile  of  the  maiden,  that 
she  suspects  the  whisper  to  be  somewhat  human.  The  picture  has  been  made 
familiar  to  the  public  by  the  excellent  photograph  published  by  the  Corcoran 
Gallery  of  Art. 

35.  Scene  at  Fontainebleau — Costume  or  Louis  XI.  2un.  x 3Un. 

P.  C.  Comte.  1874. 

The  artist  resides  at  Fontainebleau,  and  he  has  here  called  up  in  harmo- 
nious color,  and  finished  graceful  form,  a vision  of  such  a court-beauty,  in 
rich  quaint  attire  and  attended  by  a favorite  hound,  as  was  wont  in  the  olden 
time  to  sweep  with  silken  train  along  the  bosky  lanes  of  that  royal  demesne. 

36.  Procession  of  the  Sacred  Bull  Apis-Osiris.  3a.'x5fT'9. 

By  Frederic  A.  Bridgman,  1879. 
Medals  1877,  1878.  Member  of  the  Legion  of  Honor. 

The  merits  of  this  superb  picture  in  fine  conception,  finished  drawing,  and 
exquisite  color  prove  how  well  deserved  are  the  honors  bestowed  upon  this 
accomplished  American  artist  by  the  Salon  of  Paris,  and  the  mark  of  “hors 
concours  ” signifies  the  attainment  of  such  excellence  as  to  place  him  out  of 
further  competition  for  medals.  He  is  chiefly  known  by  his  picture  of  the 
“Funeral  of  a Mummy.” 

Mr.  Bridgman  has  brought  to  this  work  the  accurate  archieological  knowl- 
edge of  his  master  Gerome,  so  that  over  this  picturesque  religious  rite  of  old 
Egypt,  its  figures,  its  animals,  dancing  girls,  priests,  and  columns  there  is  an 
unquestionable  authenticity,  and  conveyed  in  such  rich  color  as  Gerome  him- 
self never  reached. 

When  the  ancient  Egyptians  found  a black  and  white  bull  marked  with  a trian- 


MAIN  GALLERY  OF  PAINTINGS. 


49 


gular  spot  in  the  forehead  and  a cross  on  his  back  they  believed  that  the  animal 
contained  the  spirit  of  their  god  Osiris,  and  he  was  held  sacred.  The  picture 
represents  a procession  in  his  honor.  Over  the  pavement  of  a temple  strewed 
with  palm-leaves  and  lotus-flowers,  Rameses  II,  the  Great,  and  his  queen  lead 
it,  the  former  dressed  in  priestly  robes,  throwing  incense  into  the  censer,  and 
the  latter  holding  the  sistrum,  a musical  instrument ; a burly  priest  follows 
leading  the  sacred  animal,  garlanded  with  flowers,  and  over  his  back  a scarlet 
cloth,  embroidered  with  the  outspread  wings  of  the  scarabeus.  The  beautiful 
dancing  girls  follow,  and  behind  them  come  white-robed  priests  bearing  the 
sacred  ark,  holding  a ship  typical  of  the  commerce,  as  the  stand  of  lotus- 
flowers  and  wheat  signify  the  fertility,  of  the  Nile.  Beyond  these  a priest 
reads  prayers,  and  the  vista  is  closed  up  with  the  bowed  forms  of  other  white- 
robed  worshippers.  In  the  left  corner  stands  a smaller  ark,  surmounted  by 
the  figure  jackal,  also  held  sacred  by  the  Egyptians.  In  a recess  between  the 
columns  of  the  temple  and  behind  the  yellow  curtain  is  a glimpse  of  a massive 
shrine  made  of  red  granite,  where  the  light  of  the  altar-lire  is  dimly  seen. 
The  sistrum  in  the  hand  of  the  queen  and  the  lute  held  by  the  dancing  girl 
are  all  exactly  copied  from  veritable  relics  of  Egypt  now  preserved  in  Berlin. 

Mr.  Bridgman  was  born  in  Alabama  in  1847,  of  Northern  parents.  At  five 
years  he  decided  to  be  an  artist.  When  sixteen  he  entered  a bank-note  en- 
graving office  in  New  York  to  learn  to  engrave  heads  and  vignettes  on  steel. 
When  eighteen  he  went  to  Paris,  and  for  two  years  was  a student  under 
Gerome.  After  studying  in  Brittany  nearly  five  years  with  the  late  Robert 
Wylie,  artist,  he  returned  to  Paris,  and  remained  there  through  the  Franco- 
German  war  and  the  Commune.  In  1872  he  visited  the  Pyrenees,  Algiers, 
Cairo,  and  went  up  the  Nile  as  far  as  the  second  cataract. 

He  exhibited  in  the  Salon,  Paris,  in  1868,  and  every  year  since.  His  first 
success,  the  “Circus  in  the  Provinces,”  was  in  1870.  He  received  medals  in 
1877-1878,  and  was  made  member  of  the  Legion  of  Honor  at  the  Universal 
Exhibition  at  Paris,  1878. 

37.  Lady  and  Dog.  4 xm  in.  By  B.  C.  Porter.  1876. 

Mr.  Porter  is  a Boston  artist,  and  he  was  unknown  to  the  Washington  pub- 
lic until  this  fine  picture  was  exhibited  here  three  years  ago.  Since  then  his 
name  has  become  a “ household  word,”  associated  with  the  memory  of  a work 
now  fortunately  the  property  of  this  Gallery,  where  it  will  remain  “ a joy  for- 
ever.” The  delicate,  thoughtful  beauty  of  the  lady’s  face  is  treated  with  a soft- 
ness in  marked  contrast  with  the  broad,  free  handling  of  other  parts,  while 
the  whole  picture  seems  saturated  with  a wealth  of  deep  harmonious  color. 
Not  the  least  remarkable  point  in  the  technique  is  that  of  the  dog,  (whose  ugli- 
ness is  a powerful  antithesis  to  the  lovely  face  above  him,)  where  a few  broad 
touches  appear  to  have  done  the  work  in  a few  minutes. 

38.  The  Judgment  of  Paris.  so^n.  x 4(Hd.  H.  P.  Gray.  1861. 

The  fame  of  this  eminent  American  artist  rests  chiefly  upon  this  superb 
work.  Mr.  Gray  modelled  his  style  upon  the  Venetian  school ; and  certainly 
he  has  here  caught  the  grace  and  color  of  Titian  in  the  beauteous  form  of 
Venus,  the  rapt  admiration  of  Paris,  pausing  ere  he  gives  the  well-won  prize, 
and  the  arch  expression  of  Cupid.  The  general  form  of  Venus  is  obviously 
suggested  by  that  of  the  Venus  of  Milo,  but  surely  the  lost  arms  of  the  latter 
could  never  have  had  more  graceful  position  than  Mr.  Gray  has  given  to  this 
charming  semblance  of  a flesh-and-blood  Venus  Victrix. 

This  picture  is  from  the  Olyphant  Collection.  Mr.  Gray  was  born  in  181!) 
and  died  in  1877. 

39.  Fine  Weather.  ."o  xT{  By  Luigi  Chialiva.  1880. 

Chialiva  is  a native  of  Italy,  but  is  one  of  the  colony  of  French  artists  at 
Ecouen,  and  a very  popular  one.  He  has  a refined  feeling  for  landscape,  is 
very  fond  of  children,  and  loves  to  introduce  them  with  animals  as  in  this 
work,  where  in  a field  stretching  away  to  a farm-house  a little  girl,  while  having 
her  hair  decked  with  flowers  by  her  sister,  rouses  the  ire  of  the  gobbler  by 
flourishing  before  him  a bunch  of  red  ones. 


50 


MAIN  GALLERY  OF  PAINTINGS. 


40.  A Shower.  Lli  By  Luigi  Chialiva.  1880. 

Here  we  have  a charming  group  of  children  and  a little  lamb  sheltered  un- 
der the  big  family  umbrella  amid  a flock  of  sheep.  The  shower  is  about  over, 
passing  away  in  a veil  of  mist  over  the  winding  river  and  distant  village.  The 
young  lambs  are  leaving  the  shelter  of  their  dams  and  sporting  around,  one 
leaping  over  its  mother  towards  the  little  one  in  the  children’s  lap.  The 
gentler  points  in  this  choice  example  of  Chialiva  are  balanced  by  the  vigorous 
treatment  of  the  sheep. 

41.  

42.  Lost  Dogs.  u Cri  au  perdu  ! " 4 n.  9«  in.  x 3 n.  iw  in. 

By  O.  Yon  Thoren.  1873. 

Here  is  an  animal  picture,  equal  to  Landseer’s  in  point  of  close  adherence 
to  nature.  The  contrast  between  the  two  dogs,  the  active  distress  of  one  and 
the  mute  resignation  of  the  other,  lost  at  the  close  of  a wintry  day,  is  forcibly 
depicted.  The  picture  was  exhibited  at  the  Vienna  Exposition  in  1873. 

43.  Venetian  Fishing  Boats.  ”6jt)g  J.  R.  Tilton,  Rome.  18 — . 

Mr.  Tilton  is  an  American  artist,  for  many  years  a resident  of  Rome. 

44.  Autumn  Afternoon  on  Lake  George.  4“;. 

(From  the  Olyphant  Collection.)  By  John  F.  Kensett.  1864. 

By  many  considered  Mr.  Kensett’s  finest  landscape.  Fi-om  an  open  fore- 
ground of  rocks  and  fallen  trees,  guarded  by  a noble  group  whose  variously- 
hued  foliage  is  relieved  against  the  luminous  sky,  we  look  over  groves  sloping 
to  the  blue  bosom  of  the  island-dotted  lake,  while  on  the  further  shore  rise 
high-peaked  mountains 

“ that  like  giants  stand 

To  sentinel  enchanted  land!” 

The  flush  of  autumn  broods  over  these  groves,  peaks,  and  the  “ tender  azure 
of  the  unruffled  ” lake,  as  they  melt  into  the  hazy  warmth  of  the  coming  sun- 
set with  a pervading  harmony  most  soothing.  Here  are  no  glaring  spots  of 
color,  of  bright  yellow,  red,  or  green,  to  break  the  dreamy  repose  of  the  scene. 
A quiet  pastoral  feature  is  given  below  the  left  foreground,  where  are  dimly 
seen  cattle  and  a rustic  bridge  over  a stream  issuing  from  the  shadowy  forest 
and  showing  its  white  crest  as  it  tumbles  over  the  rocks  below. 

Mr.  Kensett  was  born  in  Connecticut  in  18 — . After  learning  the  engraver’s 
art  he  studied  landscape  painting  under  Casilear,  another  engraver,  and  went 
to  England,  where  he  acquired  his  early  cool,  gray  style  of  color.  The  “ Lake 
George  ” proved  his  power  over  the  autumn  landscape.  He  afterwards  went 
to  Italy.  On  his  return  to  New  York  in  1848  he  took  rank  as  a leading  land- 
scapist, rising  rapidly  to  fame  and  fortune,  until  his  death  in  1872.  He  was 
unequalled  in  painting  rocks,  either  as  “swill’d  by  the  wild  and  wasteful 
ocean  ” at  his  favorite  Newport,  or  when  vaguely  mingled  with  undergrowth, 
tree-stumps,  and  trailing  plants,  as  exemplified  in  the  foreground  of  this  picture. 

45.  The  Fete  of  St.  John  in  Dalecarlia,  Sweden.  3ft.Yom.x7fn6m. 

By  Hugo  Salmson.  1874. 

The  artist  of  this  interesting  work  is  a native  of  Sweden,  so  that  it  may  be 
received  as  a true  picture  of  a village  festival  in  that  iron-mining  region. 
Here,  at  twilight,  while  the  last  red  streak  of  sunset  and  the  young  moon  are 
seen  through  the  murky  cloud  of  smoke  and  mist,  the  miners  are  in  the  height 
of  their  enjoyment.  A band  of  dancing  musicians  heads  the  procession, 
bearing  a pole  covered  with  evergreens,  which  they  are  about  to  set  up  ; behind 
them  a group  of  girls  are  dancing ; a man  on  a barrel  fires  a feu  de  joie  with  a 
pistol : while  beyond  are  seen  other  groups  in  the  dance,  or  seated  at  tables 
near  the  public-house.  The  great  point  in  the  picture  is  the  group  on  the  left, 
where  the  miners,  with  their  wives  and  children,  are  seated  feasting  and  smok- 
ing, while  their  pastor,  meerschaum  in  hand,  stands  near,  with  face  radiant 
with  kindly  jollity.  There  is  a wonderful  diversity  of  character  in  these 
numerous  figures,  in  all  positions,  and  of  all  ages  and  complexions. 


MAIN  GALLERY  OF  PAINTINGS. 


51 


This  admirable  picture  was  numbered  1,639  in  the  catalogue  of  the  Paris 
Exposition  of  1374,  and  was  one  of  a lot  selected  by  the  French  Government, 
but  their  fund  being  too  limited  for  them  all,  the  work,  fortunately  for  the 
Corcoran  Gallery  of  Art,  was  returned  to  the  artist. 

46.  Count  Eberhard,  of  Wirtemberg,  (“  The  Weeper.”)  5 ftH6  iu. 

By  Ary  Scheffer. 

The  subject  of  this  picture  is  as  follows:  Ulrich,  son  of  Count  Eberhard, 
had  lost  the  battle  of  Reutlingen,  and  was  dangerously  wounded  Many 
of  the  nobility  were  slain.  On  his  recovery  he  leisurely  sought  his  father, 
at  Stuttgard,  and  found  him  over  his  solitary  meal.  He  was  coldly  received. 
Not  a word  was  spoken.  With  downcast  eyes  he  placed  himself  opposite  his 
father.  Fish  and  wine  were  served  to  him.  The  old  count  seized  a knife, 
and  cut  the  table-cloth  between  them.  Frenzied  by  this  insult,  Ulrich 
rushed  into  the  middle  of  the  next  fight,  gains  the  battle  of  Doffingen,  and  is 
slain. — Ballad  of  V Aland. 

“And  while  we  were  celebrating  the  victory  in  our  camp,  what  was  our  old 
count  doing  ? Alone  in  his  tent,  weeping  over  the  dead  body  of  his  only 
son  ! ” — Ballad  of  Schiller. 

There  has  been  much  useless  discussion  about  the  sex  of  the  dead  figure  in 
this  picture,  on  account  of  its  girlish  features,  and  some  persons  even  insist  it 
represents  Joan  of  Arc  ; but  any  one  referring  to  the  spirited  translation  by 
the  late  Lord  Lytton  of  Schiller’s  ballad  upon  this  theme  will  see  that  the 
count’s  son  was  but  “ a stripling,”  and  that  the  hair  parted  in  the  middle  (just 
as  the  count’s  is)  would  naturally  give  to  delicate  features  after  death  that  ap- 
pearance of  effeminacy  which  puzzles  so  many  observers. 

A copy  of  this  picture  is  in  the  Rotterdam  Museum,  and  another,  illustrat- 
ing the  scene  at  the  table,  called  “ Cutting  the  Table-Cloth.  ” The  French 
Government  has  also  a copy  of  “ The  Weeper;”  but  the  one  in  this  catalogue 
is  the  original  picture,  and  far  superior  to  all  others.  There  is  also  a copy  in 
the  Boston  Museum  of  Fine  Arts. 

The  deep,  solemn  tone  and  transparent  richness  of  color  in  this  picture  are 
remarkable,  and  completely  refute  Ruskin’s  absurd  sneer,  “that  two  mule- 
loads of  earth  represent  Ary  Scheffer.  ” 

The  portrait  of  Lafayette  in  the  House  of  Representatives  is  by  Ary  Schef- 
fer. There  is  in  Washington  also  a portrait  of  Commodore  Morris,  painted  in 
1826.  Scheffer  was  born  at  Dordrecht,  Holland,  in  1795,  and  died  in  1858. 

47.  Cromwell  and  Milton.  5 By  E.  Leutze.  1857. 

This  picture,  painted  for  Mr.  Corcoran,  portrays  the  intimacy  between  Oli- 
ver Cromwell  and  his  Latin  secretary,  John  Milton,  poet.  The  latter  is  rep- 
resented as  entertaining,  by  his  skilful  performance  upon  the  organ,  the  Pro- 
tector, his  family,  and  friends.  The  children  were  painted  from  the  artist’s 
own.  Leutze  died  in  1868. 

Leutze  was  a German  by  birth,  but  came  to  this  country  when  young.  In 
the  early  part  of  his  career,  as  a wandering  portrait  painter  in  Virginia,  he 
astonished  good  judges  by  his  brilliant  color  and  dashing  style.  His  success 
took  him  to  Dusseldorff,  where,  under  Lessing,  he  soon  displayed  his  power  as 
a historical  painter,  sending  home — chiefly  to  Philadelphia — picture  after  pic- 
ture of  great  dramatic  power  and  picturesque  treatment.  Several  of  these 
were  of  noble  heroic  sentiment,  such  as  his  “Landing  of  the  Norsemen.” 
He  is  more  popularly  known  by  his  “ Washington  crossing  the  Delaware.” 

48.  Sunset.  3 rt. “m. * 5 ais in.  By  Emile  Breton.  1873. 

The  same  artist  of  the  simple  but  effective  winter  scene  at  moonrise  (No.  60, 
West  Gallery)  here  shows  with  what  power  he  can  render  the  ruddier  glow  of 
sunset,  and  the  solemn  repose  of  river,  road,  and  groves  under  approaching 
twilight. 

49.  A Spring  Landscape.  3 * 5 a%  m.  By  Louis  Japy.  1873. 

The  production  of  a distinguished  French  landscapist,  full  of  tender  color 
and  vernal  freshness. 

50.  Twilight.  3 a. 3 in.  * 6 n.a  in.  By  Louis  Japy,  1873. 

A pendant  to  the  above,  and,  contrasted  with  it,  the  versatility  of  the  artist 


MAIN  GALLERY  OF  PAINTINGS. 


52 

is  shown  in  the  grave  colors  of  the  landscape  at  the  close  of  day,  as  its  level  plain 
stretches  away  to  the  twilight  sky. 

51.  A Monk  Fishing.  36”n.x2lin.  By  L.  A.  G.  Loustenau.  1874. 

A humorous  subject,  in  the  vein  of  Hogarth.  Beside  the  shallow  stagnant 
moat  of  an  old  ruin,  a monk,  fat,  oleaginous,  and  contented,  is  seated  fishing. 
He  has  much  tackle  and  a huge  scoop-basket,  for  a great  day’s  sport,  but  the 
three  bull-frogs  on  the  bank  by  his  side  show  the  extent  of  his  success.  From 
the  Paris  Exposition  of  1874.  No.  1,239. 

52.  The  Disputed  Shot.  se®i.x29,ii.  By  J.  M.  Stanley. 

This  artist  is  generally  known  by  his  Indian  portraits  and  scenery,  many  of 
which  were  in  the  Smithsonian  Institution  when  it  was  burnt  in  1865. 

53.  Portrait  of  President  John  Tyler,  Va.*  G.  P.  A.  Healy. 

54.  Portrait  of  M.  Lasteyrie.  28?n  x Ji„.  By  Rembrandt  Peale. 

This  picture  is  marked  on  the  back  as  the  portrait  of  a “distinguished 
French  economist  and  author — the  first  to  establish  a museum  of  natural  his- 
tory, and  writer  on  cotton  and  merino  sheep,”  and  that  it  was  painted  in  wax 
in  Paris,  (no  date,)  by  Rembrandt  Peale,  for  the  Philadelphia  Museum. 

Rembrandt  Peale,  son  of  Charles  "Wilson  Peale,  was  born  1778,  and  died  in 
1860.  Washington  sat  to  him  for  his  portrait  when  the  artist  was  only  eighteen. 
In  later  life,  by  careful  use  of  the  studies  made  of  his  illustrious  sitter,  Peale 
painted  the  portrait  of  Washington  bought  by  Congress  in  1832,  which  hung 
for  a long  time  in  the  old  Senate  chamber,  and  is  now  in  the  room  of  the  Presi- 
dent of  the  Senate.  Chief- Justice  Marshall  and  others  always  declared  it  the 
best  likeness  of  Washington  ever  painted. 

55.  General  Andrew  Jackson.  , rt  jn.  x 5 7t;  By  Thomas  Sully.  1825. 

Mr.  Sully  excelled  chiefly  in  female  heads,  but  this  is  a vigorous  portrait  of 
a subject  of  strongly-marked  masculine  character. 

56.  Portrait  of  Thomas  Sully.  30"n.xa\.  (Painted  by  himself.) 

Mr.  Sully  was  born  in  England  in  1783,  came  to  this  country  in  1792,  and 
resided  in  Philadelphia.  He  died  in  18  . His  portrait  of  Queen  Victoria  in 

her  coronation  robes,  painted  for  the  St.  George’s  Society  of  Philadelphia,  was 
his  greatest  work. 

57.  Portrait  of  John  Randolph  of  Roanoke,  Ya.  g"  in.  x Jin.  C.  Harding. 

All  who  remember  Mr.  Randolph  will  pronounce  this  a striking  likeness  of 
that  personage,  so  singular  in  aspect  and  eccentric  in  character.  Of  his  tall, 
spare  frame,  small,  thin  face,  clear,  bright  eye,  petulant  caprice,  and  caustic, 
ready  repartee,  the  old  citizens  of  Washington  have  abundant  memories. 
The  portrait  was  recently  secured  by  Mr.  Corcoran  as  a valuable  historical 
addition  to  the  Gallery,  and  was  painted  over  forty  years  ago. 

Mr.  Randolph  was  born  in  1773,  and  died  in  1833.  His  grandfather  married 
the  great-granddaughter  of  Pocahontas.  He  was  a representative  in  Congress 
from  1799  to  1829,  with  an  interval  of  two  years — 1825-27 — in  the  Senate. 
His  boyish  face  and  voice  made  him  look  so  young  that  when  first  sworn  in, 
being  asked  if  he  was  of  the  legal  age,  he  characteristically  retorted,  ‘ ‘ Go  ask 
my  constituents!”  He  went  as  Minister  to  Russia  in  1830,  but  ill-health 
caused  his  death  shortly  after  his  return. 

The  artist  of  this  portrait  was  born  in  Massachusetts  in  1792, and  died  in 
Boston  in  1866.  His  early  life  was  a heritage  of  poverty  and  hard  field-labor. 
Going  to  the  West,  he  was  first  a chairmaker,  then  a sign-painter,  until  the 
work  of  a stray  portrait-painter  called  forth  his  talent  in  that  way.  After 
some  study  in  Philadelphia,  and  years  of  successful  pursuit  of  his  new  art  in 
St.  Louis,  he  went  to  Boston,  where  he  attained  a brilliant  reputation  as  a fit 
successor  to  Gilbert  Stuart,  then  passing  away.  He  next  visited  London  and 
enjoyed  the  support  and  society  of  the  British  nobility.  On  his  return,  he 
first  visited  Washington  in  the  winter  of  1829-30,  memorable  for  the  great 
encounter  of  Webster  and  Hayne  in  the  Senate,  and  his  studio  was  filled  with 


* In  the  East  Gallery. 


MAIN  GALLERY  OP  PAINTINGS. 


53 


the  portraits  of  the  statesmen,  judges,  and  chief  citizens  of  that  day.  This  por- 
trait was  probably  painted  at  that  time.  He  lacked  early  training  in  his  art,  and 
his  drawing  was  often  defective  ; but  his  fine  luminous  color  and  aptness  in  seiz- 
ing the  natural  aspect  of  his  sitters  made  all  his  portraits  agreeable  and  striking. 


58.  The  Death  of  Moses.  9 rtHi  in.  x ,Trt.  By  Alexander  Cabanel.  1851. 

The  early  work  of  a French  artist,  now  eminent,  painted  when  studying  in 
Rome.  It  seems  to  be  the  ambitious  effort  of  a young  genius — strong,  but 
immature — upon  a theme  of  the  greatest  dignity  and  difficulty.  The  artist’s  pur- 
pose was  to  illustrate  the  death  of  Moses,  as  described  in  the  following  pas- 
sage of  Holy  Writ : 

‘ ‘And  the  Lord  said  unto  him  : ‘ This  is  the  land  which  I sware  unto  Abra- 
ham, unto  Isaac,  and  unto  Jacob,  saying,  I will  give  unto  thy  seed.  I have 
caused  thee  to  see  it  with  thine  eyes,  but  thou  shalt  not  go  over  thither.  ’ 

“So  Moses,  the  servant  of  the  Lord,  died  there,  in  the  land  of  Moab,  ac- 
cording to  the  word  of  the  Lord.” — Deuteronomy , xxxiv  : 4,  5. 

Jehovah  is  represented  as  pointing  to  the  Promised  Land,  and  at  the  same 
time  indicating  with  the  other  hand  that  Moses  is  not  to  “go  thither.” 
Groups  of  angels  support  the  majestic  form  of  the  Jewish  leader,  who  turns 
towards  his  Maker  a countenance  full  of  reverence,  resignation,  and  faith,  as 
the  angels  lift  him  from  the  earth  heavenward.  The  form  and  face  of  Moses 
are  of  the  grandest  type  and  expression.  The  fans  of  light  spreading  from 
the  forehead  are  owing  to  the  artist  having  adopted  the  error  into  which 
Michael  Angelo  and  all  the  artists  of  Catholic  Europe  fell,  in  representing  Moses 
with  horns  in  sculpture,  and  with  fans  of  light  in  painting.  A learned  critic 
has  recently  shown  that  this  error  of  the  artists  arose  from  Jerome  having 
wrongly  translated  into  the  Latin  Vulgate  as  cornuta  or  horned  the  Hebrew 
and  Greek  word  signifying  “rayed”  or  “radiant,”  descriptive  of  the  light 
on  the  face  of  Moses  when  he  descended  from  the  presence  of  Jehovah. 

59.  Charlotte  Corday  in  Prison.  3 fA'a,.  x2ftTii  in. 


Charles  Louis  Muller.  1875. 

This  impressive  picture  is  by  an  eminent  French  artist  known  by  his  “ Roll- 
call  ” of  the  victims  of  the  guillotine  during  the  first  French  Revolution.  He 
has  won  three  medals,  is  an  officer  of  the  Legion  of  Honor,  and  a member  of 
the  Institute  of  France. 

Charlotte  Corday,  descended  from  a noble  family,  though  a republican, 
determined  to  rid  the  republic  of  the  blood-thirsty  Marat,  who  sent  to  the 
guillotine  all  opposed  to  him.  She  managed  to  get  an  audience  with  the 
monster  while  in  his  bath,  and  as  he  was  in  the  act  of  taking  the  names  of 
some  of  her  countrymen  as  fresh  victims,  she  stabbed  him  to  the  heart.  After 
a trial  she  was  guillotined  on  the  17th  of  July,  1793,  aged  25  years.  She  never 
repented  the  deed,  and  displayed  firmness  and  composure  to  the  last,  except 
when  the  executioner  removing  part  of  her  dress  brought  the  blush  of  modesty 
to  her  fair  face. 

The  artist  has  depicted  her  in  the  garb  of  a rustic,  with  tricolor  ribbons 
on  her  cap,  resting  languidly  upon  the  rusty  iron  bars  of  her  prison  window. 
Her  right  arm  is  braced  against  the  stone  wall,  the  hand  holding  a pen,  sup- 
porting the  drooping  head.  The  left  hand  clasps  the  iron  bars — a touching 
contrast  between  its  delicate,  slender  fingers  and  the  rusty  metal.  The  pose 
of  the  form  shows  weariness,  as  does  also  the  noble  pale  face  looking  through 
the  grating  with  a thrilling,  earnest  mournfulness.  She  appears  as  if,  weary 
with  writing  the  noble  letter  below,  to  her  father,  she  had  sought  the  window 
for  air  untainted  by  prison  walls.  Her  mouth  shows  unfaltering  firmness,  and 
her  eyes  show  watchfulness  and  sadness — but  not  the  sorrow  of  personal 
affliction.  There  is  in  them  no  sign  of  remorse,  nor  of  regret,  unless  over 
the  necessity  of  her  terrible  act.  Their  introverted  expression  speaks  of  a 
heart  brooding  over  the  fate  of  her  country. 

“Pardon  me,  my  dear  father,  for  having  disposed  of  my  life  without  your 
permission.  I have  avenged  many  victims — prevented  others.  The  people 
will  one  day  acknowledge  the  service  I have  rendered  my  country.  For  your 
sake  I wished  to  remain  incognito ; but  it  was  impossible.  I only  trust  you 
will  not  be  injured  by  what  I have  done.  Farewell,  my  beloved  father ! For- 


54 


MAIN  GALLERY  OF  PAINTINGS. 


get  me,  or  rather  rejoice  at  my  fate,  for  it  has  sprung  from  a noble  cause. 
Embrace  my  sister  for  me,  whom  I love  with  all  my  heart.  Never  forget  the 
words  of  Corneille — the  crime  makes  the  shame,  and  not  the  scaffold.” 

The  picture  is  free  from  the  tragic  treatment  the  subject  is  too  apt  to  receive 
from  French  artists.  Its  color  throughout  is  grave  and  subdued.  The  clear, 
pale  face,  the  plain  gray  garb,  the  stone  wall,  and  rusty  bars,  are  all  in  solemn 
keeping.  Even  the  rosy  tips  of  the  exquisitely  moulded  tinted  fingers  har- 
monize with  the  prevailing  gravity  of  color.  This  noble  picture  came  directly 
from  the  hand  of  the  artist  to  this  Gallery. 

60.  Portrait  of  Chief-Justice  Shippen,  of  Pennsylvania. 

29Hfn. x uin.  By  Gilbert  Stuart. 

There  can  be  no  finer  example  than  this  of  the  skill  of  perhaps  the  greatest 
portrait-painter  of  modern  times. 

Gilbert  Stuart  was  born  in  Rhode  Island,  in  1756,  and  died  in  1828.  Ac- 
quiring some  knowledge  of  painting  at  home,  at  an  early  age  he  went  to  Eng- 
land, and  studied  with  West,  and  his  ability  in  portraiture  soon  showed  itself 
in  portraits  of  distinguished  Englishmen.  At  the  close  of  1794  he  returned  to 
America,  for  the  chief  purpose  of  painting  the  likeness  of  Washington  for  the 
Marquis  of  Lansdowne.  He  painted  but  three  portraits  of  Washington  from 
life.  One  he  destroyed ; the  second  he  made  life-size  for  his  noble  patron, 
and  the  third  is  now  in  the  Boston  Museum  of  Fine  Arts.  From  these  he 
painted  twenty-six  copies.  Though  some  considered  his  male  portraits  his 
strong  point,  the  portrait  of  Mrs.  Washington,  also  in  the  Boston  Museum  of 
Fine  Arts,  is  a proof  that  he  could  successfully  adapt  his  pencil  to  the  softer 
lines  and  complexion  of  woman. 

61.  Portrait  of  M.  P.  P.  G.  Guizot.  Tlt.?d  monism.  G.  P.  A.  Healy.  1841. 

This  portrait  of  the  late  Prime-Minister  of  Louis  Philippe,  and  historian, 
deceased  in  1874,  is  pronounced  one  of  Healy’s  best  works,  and  was  painted  in 
Paris,  1841,  to  the  order  of  some  American  residents  there,  in  compliment  to 
the  French  statesman  for  his  memoir  of  George  Washington.  The  picture 
was  presented  by  them  to  the  National  Institute,  a scientific  association  then 
existing  in  Washington.  When  that  body  no  longer  existed,  the  painting 
was  turned  over  to  the  Smithsonian  Institution,  and  it  is  now  transferred  to 
the  keeping  of  the  Corcoran  Gallery  of  Art. 

Mr.  Guizot  was  born  in  1787,  and  died  in  1874.  As  a likeness  the  picture 
was  considered  a great  success,  and  is  remarkable  for  its  refined,  statesman- 
like dignity,  propriety  of  color,  and  the  rich  arrangement  of  the  accessories. 

Mr.  Healy  was  born  in  1808,  has  studied  and  practised  his  art  many  years 
in  Paris,  and  is  one  of  the  most  industrious  and  prosperous  of  our  portrait- 
painters. 

62.  Portrait  of  Henry  Clay.  x Ib.  Attributed  to  Henry  Inman 

63.  Portrait  of  the  Late  Hon.  Wm.  C.  Preston,  S.  C.*  (From  the  Smith- 

sonian Institution.)  29“'  x ^;n  By  G.  P.  A.  Healy. 

Another  strong  portrait  from  the  pencil  of  Mr.  Healy,  the  likeness  of  which 
all  friends  of  that  Senator  must  recognize.  Mr.  Preston  was  brother  to 
General  Preston,  the  great  friend  of  Powers,  the  sculptor,  and  was  among  the 
first  that  recognized  the  merits  of  the  latter,  and  introduced  him  to  his  brother. 

64.  Portrait  of  Bernardin  Saint  Pierre.  ^ x .J;n. 

Presented  by  G.  W.  Riggs,  Esq. 

This  portrait  of  the  author  of  “Paul  and  Virginia”  was  painted  in  wax, 
from  life,  by  Rembrandt  Peale,  in  Paris,  in  1808.  St.  Pierre,  born  in  1737, 
was  an  engineer  officer,  who,  after  an  adventurous  life  in  the  West  Indies,  re- 
turned to  France,  and  there  wrote  his  charming  books. 

65.  The  Farm-House.  2 a.  n in.  x 3 rT's  in.  By  George  Morland. 

Perhaps  the  finest  picture  by  this  artist  in  America.  Morland  was  born  in  1763, 


* 111  the  East  Gallery. 


MAIN  GALLERY  OF  PAINTINGS. 


55 


and  died  in  1804.  He  was  the  son  of  an  unsuccessful  painter.  It  is  said  he  drew 
well  when  only  four  years  old,  gained  reputation  by  sketches  exhibited  in  the 
Royal  Academy  when  in  his  eleventh  year,  and  at  nineteen  began  his  career  as 
a great  artist  and  a dissolute  man.  By  his  intemperate  habits  he  fell  into  the 
hands  of  men  who  plied  him  with  drink  to  rob  him  of  his  pictures.  One  of 
these  wretches  kept  him  so  long  in  this  bondage  that  he  actually  obtained 
enough  of  Morland’s  pictures  to  exhibit  them  publicly — “admittance  half-a- 
crown.”  He  subsequently  led  a careless,  roving  life  among  the  rural  districts 
of  England,  paying  his  tavern  bills  by  sketches  and  finished  pictures.  Per- 
haps it  was  of  this  picture  the  story  is  told  that,  when  finished,  a rustic  staring 
at  it,  being  asked  how  he  liked  the  work,  replied,  “ They  be  deadly  like  pigs, 
but  who  ever  saw  one  eating  from  a trough  without  one  leg  in  it  ?”  Morland 
took  the  hint,  as  here  represented. 

66.  Moonrise  in  Madeira.  :!6'’n  x By  E.  Hildebrandt. 

The  force  of  color  and  intensity  of  light  in  this  picture  are  quite  dazzling. 
It  was  painted  for  Mr.  Corcoran,  through  Baron  Humboldt,  with  whom  the 
artist  (now  deceased)  was  on  terms  of  close  personal  intimacy. 

67.  Shakespeare  and  His  Contemporaries.  4ftH5in.  xsrt^in.  John  Faed. 

This  picture,  so  interesting  from  the  various  groups  of  statesmen  and 
authors  in  the  picturesque  and  rich  costume  of  their  time,  gathered  round  the 
great  central  figure  of  Shakespeare,  is  by  one  of  the  leading  modern  artists  of 
England,  and  has  been  finely  engraved,  with  a key  indicating  the  names  of 
those  represented. 

John  Faed  is  a Scotchman,  and  one  of  three  brothers  eminent  in  art. 
Thomas  Faed  is  the  famous  painter  of  “ Sir  Walter  Scott  and  his  Friends  at 
Abbotsford,”  and  also  of  subjects  of  Scottish  genre , such  as  “The  Mitherless 
Bairn.”  Janies  Faed  is  the  engraver  of  the  excellent  print  of  this  picture, 
dedicated  to  Mr.  Corcoran. 

68  “ Le  Regiment  qui  passe.”  50“n.  xsoTn.  By  Edouard  Detaille.  1875. 

The  artist  of  this  fine  work  is  a pupil  of  the  famous  Meissonier,  and  has  already 
attained  the  highest  rank  as  a painter  of  military  subjects,  in  a style  worthy  of 
his  great  master.  He  has  won  three  medals  and  the  badge  of  the  Legion  of 
Honor.  This  picture  first  appeared  in  the  Paris  Exposition  of  1875,  and  was 
afterwards  exhibited  in  Brussels,  where  it  was  bought  for  the  Corcoran  Gal- 
lery of  Art. 

It  represents  a regiment  of  the  line  passing  along  the  Boulevard  of  St.  Mar- 
tin at  the  close  of  a wet,  snowy  day  in  December.  The  street  is  filled  with  a 
solid  mass  of  soldiery  vanishing  in  the  misty  distance,  and  headed  by  a drum- 
corps,  before  which  strides  a stalwart  drum-major.  On  the  sidewalks  are  pe- 
destrians, some  with  children  in  their  arms,  watching  the  pageant,  and  on 
either  side  of  the  muddy  street,  and  in  advance  of  the  military,  tramp  motley 
groups  of  scliool-boys,  apprentices,  and  sturdy  workmen,  all  stepping  out  in 
sympathy  with  the  music,  through  the  slushy  ruts  of  yellow  Parisian  mud. 
The  movement  of  these  groups  is  admirably  rendered.  On  the  extreme  right 
is  a portrait  of  Meissonier  himself.  On  the  opposite  side  is  a capital  lounging 
figure  of  a sergent-de-ville,  and  near  him  a more  masterly  one  of  a man  tug- 
ging along  a hand-cart.  The  crowd  of  boys  affords  an  endless  study  of  char- 
acter ; nor  must  be  overlooked  the  muddy  little  dog  in  front,  looking  aside  at 
the  drum-major.  Beyond,  are  omnibuses  and  fiacres,  filled  and  piled  up  with 
passengers,  cloaked  and  umbrellaed,  and  over  them  loom  up  the  grand  forms 
of  the  Portes  St.  Martin  and  St.  Denis,  which,  with  other  lofty  buildings, 
snow-covered,  recede  in  dim  perspective  in  the  muffled  air.  The  architectural 
grandeur  of  this  picture  is  one  of  its  strongest  points  of  merit. 

69.  The  Mask;  or,  Fun  and  Fright.  30”n.  xuin.  Chierici,  Gaetano.  1874. 

This  popular  work  is  by  a Milanese  artist  who  has  won  distinction  by  sub- 
jects similar  to  this,  painted  in  broad  masses  of  fine  color  with  great  imitative 
skill  and  perception  of  serio  comic  humor.  The  story  is  seen  at  a glance. 
The  mischievous  boy  at  the  kitchen  door  has  just  lowered  from  his  grinning 
face  the  ugly  mask  that  has  frightened  the  little  girl  from  her  meal  of  maca- 
roni on  the  chair,  and  caused  her  to  tumble  over  and  cling  to  the  dress  of 


56 


MAIN  GALLERY  OF  PAINTINGS. 


her  buxom  mother,  who,  with  a face  of  startled  anger  and  with  uplifted 
wooden  ladle,  threatens  the  urchin.  Though  the  boy  enjoys  the  fun  of  his 
trick,  he  is  evidently  doubtful  of  its  result  to  him,  as  he  has  planted  his  legs 
in  a way  to  show  he  is  ready  for  a rapid  retreat.  The  picture  acquires  more 
interest  from  the  fact  that  the  kitchen,  with  its  various  accessories  painted  with 
such  realistic  finish,  represents  the  one  in  which  Chierici  lived  when  a poor 
struggling  artist ; that  the  boy  and  girl  are  his  own  children,  and  the  cook  a 
relative. 

70.  Beach  at  Scheveningen,  Holland.  x^'rt.  F.  H Kaemmerer.  1874. 

This  remarkable  work  is  by  a native  of  Holland,  but  now  one  of  the  resi- 
dent artists  of  Paris,  where  it  was  exhibited  in  the  Exposition  of  1874,  No. 
1000.  The  fashionably-dressed  young  man  with  gray  hat  on  the  right  of  the 
picture  is  a portrait  of  the  artist.  The  subject  is  painted  with  a peculiar 
open-air  effect,  startling  at  first,  but  true  to  nature.  A cold,  slaty  sky  bends 
over  gay  groups  assembled  on  the  beach  of  a Dutch  watering-place,  and 
brings  all  the  finely-pencilled  details  into  clear  relief.  The  artificiality  of 
the  fashionably-dressed  seaside  loiterers  is  balanced  by  the  summer  sea  and 
the  groups  of  children  wading  and  sporting  near  the  light  waves  breaking 
upon  the  sand.  This  happy  contrast  has  its  climax  in  the  group  in  the  left 
foreground,  where  the  gaily  attired  city  miss  bends  over  the  coarse  garb  and 
brown  face  of  the  fisher-girl  that  holds  up  her  shells  for  sale.  Other  fine 
traits  of  character  are  seen  in  the  exquisite  languor  depicted  in  the  form  of 
the  fair  invalid,  with  dainty  feet  supported  on  a stool,  and  the  placid  content 
of  the  worthy  priest  listening  to  the  chat  of  a belle.  The  technical  skill  of 
the  artist  is  successfully  shown  in  his  way  of  grouping  together  so  many 
objects  of  the  lightest  color — the  white  dresses,  white  chairs,  and  white 
wagons,  without  confusion,  and  in  proper  relief. 

71.  Souvenirs  of  the  Sixteenth  and  Seventeenth  Centuries.  40'in.  x 3e!  in 

By  B.  Des  GofFe.  1874. 

The  curious  objects  in  this  picture  are  grouped  in  the  lower  open  part  of  a cre- 
dence, or  carved  ebony  cabinet  of  the  17th  century,  which  was  sent  from  Spain 
to  Admiral  Nelson,  at  Paris,  for  repair,  and  is  now  in  the  Musde  de  Cluny. 
The  pistols  are  of  Italian  manufacture  of  the  16th  century.  The  dark  enamelled 
cup  and  the  white  Faience  cup  are  of  the  time  of  Henry  II,  and  are  also  in  the 
same  museum.  The  chief  object  in  the  picture  is  the  large  boat-shaped  cup  of 
lapis  lazuli,  of  the  17th  century,  now  in  the  Louvre,  where  its  designation  is 
Nacelle.  Neptune,  with  trident,  silver  gilt,  is  seated  on  a shell  at  the  stern ; 
and  at  the  prow  is  the  head  of  a sea-monster  with  open  jaws.  Below  there  are 
large  grotesque  masks,  while  smaller  ones  support  the  base. 

The  careful  drawing  and  delicate  finish  of  this  example  of  still  life  are  only 
equalled  by  the  refined  selection  of  the  objects  and  subdued  propriety  of  the 
coloring. 

72.  A Family  of  Satyrs.  6ftH6in. KiZ'nn.  By  Louis  Priou.  1874. 

This  great  work  is  by  a pupil  of  Cabanel,  and  took  a gold  medal  of  the 
first  class  at  the  Paris  Exposition,  1874.  No.  1522  on  the  Catalogue. 

The  prodigious  vigor  of  the  composition  and  its  fine  color  are  equal  to 
the  artist’s  thorough  classical  conception  of  the  subject.  The  whole  scene  is 
replete  with  the  spirit  of  the  wild,  joyous  sylvan  life,  associated  with  those 
imaginary  wood-deities  of  the  ancients. 

73.  The  Heir  Presumptive.  3^t Vt.^ert.  By  G.  H.  Bougkton,  1873. 

A scene  in  an  English  park  about  a century  since,  when  its  young  heir  is 
taking  a morning  walk  on  a cool  autumnal  day  with  a stately  matron,  caressing 
his  noble  dog,  while  a pet  poodle  trots  alongside  the  lady.  Behind  them  a 
black  servant  in  livery  leads  his  young  master’s  pony,  and  in  front  an  old 
rustic  stops  his  work  of  sweeping  up  the  autumnal  leaves  to  pay  his  obeisance 
to  the  promenaders. 

The  picture  was  first  exhibited  in  the  British  Koyal  Academy,  and  combined 
the  excellences  of  the  artist’s  peculiar  style,  being  simple  in  composition,  of 
cool  and  subdued  color,  of  quiet  delineation  of  character,  with  a subtle 
refinement  pervading  the  whole  work.  Not  the  least  merit  of  it  is  the  admir- 


MAIN  GALLERY  OF  PAINTINGS. 


57 


able  treatment  of  the  landscape,  and  the  exquisite  vista  through  the  group 
of  beeches.  Mr.  Boughton  was  born  in  England,  but  came  to  this  country 
at  an  early  age.  After  growing  up  in  his  brother’s  hat  store  in  Albany,  his 
love  for  art  took  him  to  New  York  for  instruction.  His  talent  for  painting  first 
inclined  to  landscape,  and  in  1857  his  first  picture  was  exhibited.  He  soon  ac- 
quired reputation  and  the  means  of  studying  his  art  in  Europe,  where  his  suc- 
cess as  an  eminent  painter  is  now  established.  He  resides  in  England,  and  his 
pictures  are  eagerly  sought  at  high  prices.  His  subjects  have  been  chiefly  de- 
voted to  the  illustration  of  the  Puritan  settlement  of  New  England. 

74.  Sunday  Morning  in  Auvergne.  2ft.nin. x3rtWi'oin.  J.  A.  Bail.  1874. 

This  picture  of  the  interior  of  a French  cottage  is  full  of  interest.  The 
gladsome  light  in  the  child’s  eyes  as  her  mother  puts  the  last  pin  in  her  dress; 
the  patient  attitude  of  the  grandmother,  waiting,  prayer-book  in  hand ; the 
girl  descending  the  stairs,  the  natural  air  of  the  old  woman  arranging  her  cap, 
and  the  two  men  taking  a cup  of  wine  before  leaving  for  church,  are  all  told 
with  marked  character.  Also  from  the  Exposition  of  1874. 

75.  Constantinople,  from  the  Golden  Horn.  3"'n.  x 50Tn.  Felix  Ziem.  1874. 

A powerful  example  of  an  artist  famous  for  his  glowing  pictures  of  Venice, 
and  other  cities  near  the  borders  of  the  Mediterranean.  Its  rough,  expres- 
sive handling,  seen  at  a proper  distance,  is  lost  in  a softness  that  steeps  the 
mass  of  the  city  in  a voluptuous  haze,  while  the  walls,  domes,  and  minarets 
are  flushed  with  the  orange  light  of  an  Oriental  sunset. 

76.  Flower-Piece.  3 ft.”' in.  by  4 ftWi'o i„.  By  E.  G.  Couder.  1873. 

A superb  example  of  one  of  the  leading  flower-painters  of  France.  The 
wealth  of  color  in  the  vase  of  flowers,  the  angry  terror  of  the  cat  that  has 
upset  the  vase,  the  delicate  imitation  of  the  water  upon  the  table,  show  the 
comprehensive  ability  of  a true  master. 

77.  Trout  Brook  in  the  Catskills.  2ft.Ydin.  x Fri.  W.  Whittredge.  1875. 

A burst  of  sunlight  through  the  trees  falls  upon  their  stems  and  the  green  margin 
of  the  stream,  bringing  out  the  coffee-colored  hue  of  the  water  very  truthfully. 

Mr.  Whittredge  is  a native  of  Ohio,  and  after  years  of  study  in  Europe 
follows  his  art  in  New  York  city. 

78. *  French  Cuirassiers  bringing  in  Bavarian  Prisoners. 

In  water-colors.  17  x zYin.  Edouard  Detaille.  1875. 

This  fine  aquarelle  shows  Detaille’s  skill  in  water-colors  to  be  fully  equal  to 
his  work  in  oil-colors.  In  this  example  we  have  the  literal  detail  of  a photo- 
graph, combined  with  the  finest  perception  of  military  character  and  rich  color. 
It  represents  a scene  after  a battle  at  Orleans ; . one  of  the  few  encounters 
where  the  French  had  the  advantage.  The  national  characteristics  of  captors 
and  captives  are  well  rendered,  as  also  the  contrast  between  the  careless  atti- 
tudes of  the  officers,  the  stiff,  stolid  forms  of  the  watchful  guards,  and  the  un- 
concern of  the  rustic-looking  prisoners. 

Detaille  is  a patient  student  of  every  branch  of  his  art  to  the  simplest  de- 
tails. The  chief  trooper  in  the  foreground  was  painted  from  a cuirassier,  who 
with  his  horse  stood  for  days  in  the  artist’s  yard. 

79.  Ideal  Head.  27Hin.  x 22Vin.  By  Geo.  A.  Baker.  1865. 

80.  Justice  to  LievinPyn,  1541.  3 ft.  s'm.  x 5 ftWff  in.  By  F.  Pauwels.  1862. 

Lievin  Pyn,  First  Magistrate  of  Ghent,  was  wrongly  accused  by  his  ambi- 
tious colleagues,  and  beheaded  by  order  of  Charles  V.  Afterwards,  the  empe- 
ror, convinced  of  his  innocence,  ordered  solemn  mass,  and  a proclamation  to 
be  read  by  the  priest  declaring  Pyn’s  innocence,  in  the  presence  of  his  mourn- 
ing family  and  four  of  his  accusers. 

There  is  fine  discrimination  of  character  in  the  faces  of  these  last.  The  first 
shows  the  unrepentant  haughtiness  of  a bigot,  there  is  a disturbed  conviction 
in  the  downward  look  of  the  second,  a fixed  nervous  apprehension  in  the  third, 
and  a meek  penitence,  real  or  dissembled,  iu  the  fourth. 


* In  the  East  Side  Gallery. 


58 


MAIN  GALLERY  OF  PAINTINGS — CHURCH’S  NIAGARA. 


Pauwels  is  an  eminent  artist  of  the  Netherlands,  and  has  won  several  gold 
medals.  He  is  Professor  of  Historical  Painting  at  Weimar.  The  picture  is 
from  the  Strousberg  Collection,  Berlin. 

81.  Niagara  Falls.  3 x 1 Zi  in.  F.  E.  Church.  1857. 

Of  this  great  picture  of  a great  American  subject,  by  a great  American 
artist,  it  may  be  said  that  it  represents  all  of  the  mighty  scene  in  nature  save 
its  sound  and  motion,  though  the  latter  element  of  its  sublimity  is  grandly 
suggested  in  the  rush  of  its  massive  green  depths  and  the  varied  sweep  and 
surging  eddies  of  its  shallower  waters.  It  was  exhibited  throughout  America 
and  Europe,  carried  off  a gold  medal  at  the  Paris  Exposition,  and  was  pur- 
chased at  the  sale  of  the  collection  of  J.  Taylor  Johnston,  N.  Y.,  for  this 
Gallery.  Mr.  Church  never  painted  a copy  of  it,  for  it  is  to  be  said  in  his  honor 
that  he  never  repeats  his  pictures. 

82.  


83. 


84.  Portrait  of  President  Zachary  Taylor.  S'xk'  J-  Vanderlyn.  1852. 

Painted  in  Washington,  from  life,  just  before  the  artist’s  death. 

85.  Portrait  of  A.  B.  Durand.  iftn.xsTin.  C.  L.  Elliott.  1864. 

86.  Portrait  of  George  Peabody,  Esq.  :?0'xm'  G.  P.  A.  Healy.  1854. 

87.  Portrait  of  Wm.  Page,  Artist.  24“n  x Thomas  Le  Clear.  1876. 

An  excellent  example  of  Mr.  Le  Clear’s  skill,  and  a life-like  portrait  of  an 
emineut  artist.  It  was  exhibited  in  the  British  Koyal  Academy,  187G,  and 
elicited  marked  praise  for  its  admirable  execution  in  middle-tints. 

88.  The  Tornado.  x p|n.  By  Thomas  Cole.  1831. 

This  grand  picture  of  a scene  as  sublime  as  “ever  savage  Rosa  dash’d,”  was 
painted  in  London  and  exhibited  in  the  Royal  Academy.  Through  the  dark- 
ened air  a burst  of  light  illumines  the  shattered  trees  in  the  foreground,  with 
weird  glimpses  of  rocks,  cascades,  and  other  trees  beyond  wrestling  with  the 
tempest.  The  observer  can  compare  this  sublime  phase  of  Cole’s  genius  with 
the  calm  glory  of  the  summer  morning  in  his  “Departure,”  hanging  below. 
(From  the  Olyphant  Collection.) 


89.  On  the  Pincian  Hill,  Rome. 

H.  W. 

2 ft.  9 in.  x 4 ft.  7 In. 


Cardinal  questioning  Acolytes. 

Ferdinand  Heilbuth. 


Variety  of  character  and  brilliant  color  abound  in  this  work  by  Heilbuth, 
renowned  also  for  his  water  colors. 

The  earnest  but  not  severe  look  of  the  Cardinal  seems  rather  to  abash  the 
acolytes,  though  thoughtfulness  is  stamped  upon  each  downcast  face,  while 
the  priest  beyond  is  evidently  encouraging  the  lads  at  his  end  of  the  line. 

Though  born  in  Hamburg,  Heilbuth  is  a naturalized  French  artist.  Here 
is  his  record  : 2d  medal,  1857 ; recalled  for  medals  in  1859  and  1861 ; member 
of  the  Legion  of  Honor  1861,  and  placed  hors  concours — that  is,  no  longer 
to  compete  for  medals  against  less  eminent  artists. 


90.  Mount  Corcoran, (Southern  SierraNevada.)  5 x ^ A.  Bierstadt.  187 5. 

This  striking  picture  combines  the  best  characteristics  of  the  style  of  Mr. 
Bierstadt,  the  first  pioneer-painter  to  reveal  to  us  the  sublime  scenery  of  the 
far  West.  The  artist  has  given  names  to  several  mountains  in  the  Sierra  Ne- 
vada range,  afterwards  adopted,  and  he  named  this  majestic  peak,  rising  14,094 
feet,  in  compliment  to  one  that  rises  high  above  his  fellows  in  boundless  mu- 
nificence for  the  cause  of  art.  The  picture  was  bought  and  presented  to  the 
Gallery  by  Mr.  Corcoran. 

The  view  is  taken  from  a little  lake  five  miles  from  the  mountain,  and 
is  portrayed  under  effects  that  give  sublimity  to  its  forms  without  veiling 
its  elements  of  beauty.  Athwart  the  breast  of  the  snow-capped  peak  roll 
stormy  masses  of  vapor,  those  on  the  left  towering  up  in  sulphurous-tinted 
cumulous  shape,  with  their  lower  skirts  darkening  the  rocky  slopes,  out  of 
whose  depths  leaps  a cascade  to  the  green  lake  that  mirrors  its  trailing  line  of 
light.  On  the  right  a grove  of  the  giant  pines  of  that  region  is  relieved  against 


EAST  SIDE  GALLERY. 


59 


the  rolling  clouds,  and  recedes  to  a rocky  point  in  the  middle  distance.  From 
this  point  the  shore  curves  round  to  the  left  ground,  ending  in  a mass  of  half- 
submerged  rocks  and  trees  receding  in  the  transparent  green  margin  of  the 
lake.  Midway  across  the  yellow  curve  of  the  beach,  lighted  up  by  a patch  of 
sunlight,  stalks  a black  bear  on  his  way  for  a bath  or  drink,  heightening  the 
scene’s  wild  solitude.  The  foreground  is  enriched  by  the  scarlet  tufts  of  the 
dwarf  willow,  common  to  that  region. 

Mr.  Bierstadt  was  born  at  Dusseldorf,  Germany,  in  1828,  and  in  his  second 
year  came  with  his  parents  to  New  Bedford,  Mass.  He  began  to  paint  in  oils 
in  1851,  and  soon  went  to  study  his  art  at  Dusseldorf.  After  studying  also 
the  scenery  of  Switzerland  and  Italy,  he  returned  to  New  York  in  1857.  Soon 
his  genius  sought  themes  for  his  pencil  in  the  scenery  of  the  Rocky  Mountains, 
whither  he  went  with  General  Lander’s  Exploring  Expedition  as  a painter. 
The  scenery  of  California — of  the  Sierra  Nevada — has  since  furnished  to  him 
inexhaustible  themes.  Says  Tuckerman  : “We  are  glad  to  have  the  Dussel- 
dorf style  so  represented  among  us  by  Bierstadt ; it  is  admirably  adapted  to 
some  scenes  and  subjects ; it  adds  to  the  variety  and  popularity  of  our  landscape 
art ; its  contrasts  are  desirable,  and  appeal  to  minds  otherwise  insensible  to 
more  vague  and  latent  art-language.” 

91.  Portrait  of  G.  W.  Parke  Custis,  of  Arlington.  36”n.  x 2<n'u. 

Samuel  Waldo. 

A vigorous  characteristic  likeness  of  a celebrity  well-known  to  the  citizens 
of  Washington. 


EAST  SIDE  GALLERY. 


92. 


93. 

94. 

95. 

96. 


97. 

98. 

99. 
100. 
101. 
102. 

103. 

104. 


105. 

106. 
107. 


Portrait  of  the  late  Hon.  J.  C.  Calhoun  when  Secretary  of  War. 

min.  X By  Clias.  B.  King. 

It  was  painted  for  the  late  Virgil  D.  Maxcy  of  Maryland,  and  is  considered 
an  excellent  likeness  of  the  statesman  at  that  time. 


Tiger  Hunt.  (Water-color  sketch.)  A.  L.  Barye,  Paris. 

Sleeping  Lions.  (Water-color  sketch.)  A.  L.  Barye,  Paris. 
Portrait  of  Pres.  George  Washington.  wnLw'in.  Gk  P.  A.  Healy. 

“ “ Martha  Washington.  “ “ 

Both  copied  from  the  original  portraits  by  Gilbert  Stuart  in  the  Boston 
Museum  of  Fine  Arts. 


Pres.  John  Adams.  25in.  x3oin.  (After  Stuart.)  By  G.  P.  A.  Healy.  1860. 
Pres.  Thos.  Jefferson.  “ “ “ 

Pres.  James  Madison.  “ (After  C.  Harding.)  “ 

Pres.  James  Monroe.  “ (A  copy.)  “ 

Pres.  J.  Q.  Adams.  “ (Original.)  “ 1858. 

Pres.  A.  Jackson.  “ “ 1845. 

Painted  at  the  Hermitage  a short  time  before  his  death. 


Pres.  M.  Van  Buren.  25in.  xsoin.  Painted  by  Healy.  1857. 
Pres.  W.  H.  Harrison.  “ Painted  by  E.  F.  Andrews.  1879. 

Copied  from  a portrait  by  J.  H.  Beard,  1840. 

Pres.  John  Tyler.  25  in.  x3oin.  Painted  by  Healy.  1842. 

Pres.  J.  K.  Polk.  « “ “ 1846. 

Pres.  Gen.  Z.  Taylor.  “ “ “ 1860. 

Copied  from  a portrait  by  Amans. 


60 


EAST  SIDE  GALLERY. 


108. 

109. 

110. 
111. 


112. 

113. 

114. 

115. 


11G. 

117. 


118. 


Pres.  M.  Fillmore. 

25  in.  x 30  in. 

Painted  by  Healy. 

Pres.  F.  Pierce. 

u 

“ “ 1852. 

Pres.  J.  Buchanan. 

u 

“ “ 1859. 

Pres.  A.  Lincoln. 

u 

“ “ 1860. 

Painted  for  T.  B.  Bryan,  Esq.,  just  after  his  election. 

The  portraits,  from  9,r>  to  111,  inclusive,  (excepting  President  Harrison’s,) 
with  Mr.  Peabody's,  No.  80,  were  painted  for  a series  ordered  by  Louis  Phi- 
lippe for  the  Versailles  Gallery. 

Pres.  Andrew  Johnson.  25x30 Painted  byE.  F.  Andrews.  1882. 
Pres.  Ulysses  S.  Grant.  “ “ Henry  Ulke.  1882. 

Pres.  Rutherford  B.  Hayes.  “ “ E.  F.  Andrews.  1881. 

Pres.  James  A.  Garfield.  “ “ 

By  William  T.  Mathews.  1883. 

Pres.  Chester  A.  Arthur.  “ By  G.  P.  A.  Healy.  1884. 

Crayon  Portrait  of  the  Hon.  Stephen  A.  Douglas. 

Jules  Emile  Saintin,  Paris.  1860. 

Painted  from  life  in  New  York,  and  presented  by  the  artist. 

Afternoon  in  Early  June.  m'x  C.  E.  Brenner.  1880. 

The  style  of  color  of  this  work  is  at  first  startling  to  eyes  accustomed  to  see 
nature  treated  at  a later  season  or  in  a conventional  way.  Repeated  study  of 
it,  however,  will  show  that  Mr.  Brenner  has  displayed  in  it  close  observation 
of  scenery  and  successful  effort  to  imitate  a phase  of  nature  most  difficult  to 
be  represented,  and  which  too  many  landscapists  fear  to  grapple  with.  He  is 
a Kentucky  artist,  who  has  struggled  in  his  profession  with  but  few  advan- 
tages, and  this  attempt  to  represent  a grove  of  beeches  in  his  native  State  gives 
abundant  promise  of  a successful  future. 


119,  120.  Portraits  of  Mr.  and  Mrs.  B.  O.  Tayloe.  mL  x s^i'n. 

Presented  by  Mrs.  Tayloe.  By  D.  Huntington. 

121.  A Pastoral  Visit.  4"jn.  6Yj„.  R.  N.  Brooke.  1881. 

Here  we  have  the  interior  of  the  cabin  of  a field-negro  in  soiled  clothes, 
surrounded  by  his  wife  and  children  after  his  noon-tide  meal.  He  has  just  laid 
down  his  banjo,  and  listens  with  stolid  respect  to  the  colored  pastor  just 
dropped  in,  who  holds  his  plate  to  the  wife  for  a mess  of  bonny-clabber,  while 
he  turns  to  address  the  husband.  His  umbrella,  hat,  and  prayer-book  are 
behind  him.  His  bald  head,  circle  of  white  hair,  gray  beard,  and  kindly  ex- 
pression of  his  eyes,  make  the  pastor’s  figure  one  of  faultless  character,  while 
all  the  accessories  of  the  kitchen  make  the  scene  what  it  professes  to  be,  one 
from  real  life. 

Mr.  Brooke  is  a young  Virginian  who  studied  his  art  in  Paris  under  the 
celebrated  Bonnat,  and  has  set  a good  example  to  his  brother-artists  returned 
from  foreign  study,  by  applying  his  art  to  a subject  wholly  American. 

122.  Portrait  of  the  Hon.  Henry  Clay,  Ivy.  3 "in>  2Jvm. 

By  Ckas.  B.  King.  1822. 

Painted  when  the  eminent  statesman  was  in  his  zenith.  The  shirt-ruffles, 
plum-colored  coat,  stiff  rolling  velvet  collar,  brass  buttons,  and  hair  over  his 
forehead,  denote  the  costume  of  the  time.  This  portrait  was  considered  the 
best  ever  taken.  Iu  after  years,  Mr.  Clay  wore  his  hair  combed  back  from  his 
noble  forehead.  He  holds  in  his  right  hand  a paper  inscribed  with  his  Reso- 
lution dated  Feb.  21,  1822,  declaring  the  sympathy  of  the  people  of  the  United 
States  with  the  struggles  of  the  Provinces  of  South  America  for  liberty,  and 


WEST  SIDE  GALLERY. 


61 


the  intention  of  Congress  to  aid  the  President,  in  a constitutional  way,  when 
he  deems  it  expedient  to  recognize  their  independence. 

A very  popular  engraving  of  the  portrait  was  published  many  years  ago. 

123.  A Home  in  the  Woods.  26Yn.  By  Cbas.  Lanman.  1881. 

124.  The  Late  Commodore  M.  F.  Maury.  f6-x^-in. 

By  L.  M.  D.  Guillaume  (from  photograph.)  1882. 

125.  Piazza  or  St.  Peter’s,  Rome.  2ftHein. x5fLin.  A.  Moretti.  1853. 

126.  The  Forum  from  the  Tabularium,  Rome.  2 n,H6 «.  x 5 rJI'in. 

A.  Moretti.  1853. 

127.  Portrait  of  John  Howard  Payne.  fiJai  By  J.  W.  Jarvis. 

This  interesting  portrait  of  the  author  of  “Home,  Sweet  Home”  was 
painted  by  the  celebrated  Jarvis  for  Mr.  Meredith,  of  Baltimore,  when  Payne 
was  about  17  years  of  age.  It  was  presented  to  Mr.  Corcoran  by  Mr.  Gilmor 
Meredith,  and  figured  in  the  final  obsequies  of  Payne  at  Oakhill.  Though  in- 
jured, the  work  shows  the  spirit  of  Jarvis’  style,  who  has  given  to  the  eyes  a 
certain  poetic  light,  and  graceful  air  to  the  head  that  formed  much  of  the 
beauty  that  Payne  was  known  to  possess  in  early  manhood. 

128.  Portrait  of  Gen.  R.  E.  Lee.  « a,  x s aTi  in.  By  J-  A.  Elder. 

129.  Portrait  of  Gen.  T.  J.  Jackson.  x 3 ftW4 in.  By  J.  A.  Elder. 

130.  Portrait  of  Hon.  J.  S.  Morrill,  Yt.  x soli.  By  Healy.  1884. 

131.  Alexander  II  of  Russia  receiving  the  resolutions  of  congratulation 

on  his  escape  from  assassination,  passed  by  Congress  August, 
1866,  and  delivered  to  him  by  the  late  G.  Y.  Fox,  Ass’t  Sec’y  of 
Navy,  in  the  presence  of  Prince  Gortscliakoff,  Minister  Cassius 
M.  Clay,  Mr.  John  Van  Buren,  Capt.  Murray,  and  Commander 
Beaumont,  U.  S.  N.,  and  their  secretaries. 

This  picture,  (H.  3 ft.  !)4  in.  x W.  4 ft.  10  in.,)  painted  by  L.  Eug.  Leroux, 
Paris,  was  exhibited  in  the  Paris  Salon  of  1880.  It  was  presented  to  the 
Corcoran  Gallery  by  Mrs.  G.  V.  Fox  in  fulfilment  of  her  husband’s  wishes. 


WEST  SIDE  GALLERY. 

1.  The  Blonde,  Brunette,  and  Medium.  29Hi'n.  *36  in.  By  T.  P.  Rossiter. 

2.  Landscape.  (Oval.)  x m in.  By  R.  Gignoux. 

3.  Ball-Playing  Among  the  Sioux  Indians.  ”8  x^’  Col.  Seth  Eastman,  u.  s.  a. 

4.  Lake  Scene  near  Lenox,  Mass.  A * « in.  By  W.  M.  Oddie. 

5.  Out-Door  Concert.  24Hin.  X2Tin.  By  E.  T.  Eckout. 

6.  Swiss  Landscape.  -An.  x :n’io.  By  Seefiscli.  1850. 

7.  Allegro  and  Penseroso.  8"n.  * iL.  By  J.  G.  Brown. 

8.  Sketch  of  Mt.  Washington,  mi,. x 20^.  By  J.  F.  Kensett.  1851. 

9.  Portrait  of  Napoleon  I.  105fin.  x 8 ^in. 

This  portrait  was  painted  in  Paris,  from  life,  in  three  sittings  to  the  artist 
while  at  breakfast,  by  a brother-in-law  of  Talma,  the  actor,  and  once  belonged 
to  General  Winfield  Scott,  who  brought  it  from  Europe. 

10.  Return  from  Market.  2 x :,Yin.  By  W.  Brown. 

The  artist  was  an  Englishman,  and  imitated  the  style  of  Morland. 

11.  Portrait  of  Baron  Humboldt.  38"n.  x 2f;0.  By  Madame  G.  Richard. 


62 


WEST  SIDE  GALLERY. 


12. 

13. 

14. 

15. 

16. 


H.  W. 
17,4  io-  x 15  in. 


Swiss  Landscape. 

Cascade. 

Flemish  Picture. 
Battle-piece,  (on  copper.) 


H.  W. 

27  in.  x 38  in. 


H.  W. 

9 in.  x 11  in. 

H.  W. 
44  in.  x 7 in. 


By  C.  Fribel.  1849. 
By  Robbe,  after  Achenback. 

Artist  unknown. 


It  is  signed  on  the  back  “ Velvet  Brueghel” — 15(10-1628. 


17.  The  Village  Doctor.  lslD.xzYin.  By  Venneman.  1850. 

18.  Child  Reading.  16Hin.  x isTn.  (A- copy.)  By  J.  G.  Meyer. 

19.  Iris,  (oval.)  25u.*3<TiL.  (A.  copy.) 

20.  Portrait  of  Catherine  II  of  Russia.  h‘  w- 

The  painter  of  this  work  is  unknown  ; but  its  fidelity  as  a likeness  in  per- 
son, dress,  aud  ornaments  is  attested  by  numerous  authentic  engraved  portraits 
of  the  Empress  made  during  her  reign.  Presented  by  Mrs.  Gen.  Lander. 


21.  Crossing  the  Rocky  Mountains.  3o"n.  x-tfin.  ByBrewerton. 

22.  From  the  Bath.  20"/..  x ilin. 

23.  Great  Falls  of  the  Potomac.  34"-.  By  Wm.  MacLeod.  1873. 

24.  Moonlight  in  Italy.  .24’'q.  x 2o’in.  By  Tavernier.  1849. 

25.  Washington’s  Headquarters  on  the  Hudson.  2fin.  x37in. 

By  J.  F.  Cropsey.  185-. 

26.  Virgin  and  Child.  x Attributed  to  Murillo. 

27.  Christ  Bound.  2s”n.  xiTin.  Attributed  to  Vandyck. 

28. 

29.  Child  and  Nurse,  (a  copy  well  executed.)  27"',.  x By  Begas. 

30.  The  Huguenot’s  Daughter.  39fn. * win.  W.  D.  Washington.  1854. 

Represents  a Huguenot  father  and  his  armed  attendants  surprising  his 
daughter  when  about  to  be  wedded  to  her  Catholic  lover. 

The  artist  was  a native  of  Washington  City,  studied  at  Dusseldorff,  under 
Mr.  Leutze,  and  died  a few  years  ago  at  Lexington,  Va. 


31.  A Dutch  School.  aun. x 25^1.  By  De  Block. 

32.  The  Beggar  Girl,  (painted  from  life.)  x win.  By  Oscar  Begas. 

33.  Fanny  Ellsler  as  La  Sylphide.  6 ft  x 4 £-n  in.  By  Prof.  Begas. 

The  artist  was  a professor  of  painting  at  Berlin,  and  painted  this  excellent 
likeness  of  the  famous  danseuse  for  the  king  of  Prussia. 

34  and  35.  Sea-ports.  12",;.  x 27in.  lsVn.  x nin.  Attributed  to  Canaletti. 

36.  Norma.  3*n.xSin.  By  Louis  Lang. 

37.  The  Trojan  Horse.  3 a. fin.  xs\  By  Henri  Motte.  1874. 

After  ten  years’  siege  of  Troy,  the  Greeks  constructed  an  enormous  wooden 
horse,  inside  of  which  some  of  their  bravest  warriors  were  hidden.  The  rest 
burnt  their  tents  and  sailed  away.  The  Trojans,  thinking  their  troubles  were 
ended,  broke  down  their  walls,  and  dragged  the  horse  into  their  city.  While 
carousing  at  night  over  their  good  fortune,  the  Greeks  descended  from  the 
horse,  and  other  forces  arriving,  the  city  was  taken. 

Under  the  solemn  light  of  the  moon  the  Greeks  are  seen  descending  by  one 
cord,  while  their  brazen  shields  are  let  down  by  another.  After  slaying  the 
Trojan  guards,  they  stealthily  creep  behind  the  battlements,  and  descend  to 
the  devoted  city.  Though  the  huge  mechanism  of  the  horse  subordinates  the 
human  figures,  the  drawing  and  perspective  of  the  whole  scene  are  learned  and 
well  executed.  The  picture  is  from  the  Paris  Exposition  of  1874, 


WEST  SIDE  GALLERY. 


63 


On  the  Coast  of  Calabria. 
Italian  Ox-Cart. 

Landscape. 

The  Coquette,  (oval.) 

On  Catskill  Creek. 


H.  W. 

29  in.  x 22  in. 


H.  W. 

22  in.  x 34  in. 

H.  W. 

19  in.  x 26  in. 

H.  W. 

3 ft.  4 in.  x 2 ft.  10  in. 


By  A.  Roveara.  1860. 
By  George  Inness. 


38. 

39. 

40. 

41. 

42.  On  Catskill  Creek.  27"n  x 3Jin.  By  W.  B.  Boggs. 

43.  Flemish  Seaport — Moonlight.  .29"n  x 30"-„.  By  J.  M.  Culver.  1841. 

44.  Dog  and  Parrots.  x 32  i'„.  By  F.  Lachenwitz.  1847. 

45.  Duck-Shooting.  30"i.  x .J;,,.  By  Wm.  Ranney.  1850. 

A thoroughly  American  scene,  in  the  Jersey  Flats,  full  of  vigor  and  truth  to 
nature. 


46.  Cabinet-sized  Portrait  of  President  James  Madison.  27H\n.  xwaia. 

On  panel.  By  Tlios.  Sully. 


Presented  by  Frederick  E.  Church,  artist.  As  a portrait,  unquestioned. 
Its  soft,  refined  coloring  is  in  Sully’s  best  style. 


47.  Entrance  to  the  Golden  Gate,  California.  3 in.  x 7n.  Jno.  R.  Key. 
Considered  a faithful  view  of  that  remarkable  coast  scene. 


48.  Autumnal  Corn  and  Grapes.  I7  x 2f;ri.  E.  Perelli.  1875. 

An  example  of  still-life,  perfect  in  drawing,  finish,  and  color.  There  is 
originality  in  the  grapes  being  represented  as  partly  withered. 

49.  The  Emigrant’s  Letter.  20”n.  x 1(^n  By  Howard  Helmick.  1868. 

Mr.  Helmick  is  a native  of  Washington  city,  now  following  his  art  in 
London,  where  he  has  met  brilliant  success  in  painting  subjects  of  Irish 
rustic  life.  This  picture  represents  a French  peasant’s  family  listening  to  a 
letter  from  an  emigrant  brother. 

50.  Leisure  and  Labor.  15Hj‘n.  x By  F.  B.  Mayer.  1853. 

The  hackneyed  subject  of  a village  blacksmith  shop  is  here  treated  with 
great  originality,  fine  color,  and  contrast  in  the  figures,  which  well  illustrate 
the  aptness  of  the  title.  Mr.  Mayer  is  a Baltimore  artist  of  high  repute. 
This  picture  has  been  engraved. 

51.  Wood  Scene,  with  Hunters.  lsVn.  x saii.  By  M.  Bouquet. 

A quiet,  unobtrusive  picture  that  will  well  repay  close  study. 

52.  Scene  in  the  Catskills.  2iHiV  x mn.  By  Paul  Weber.  1858. 

A fine  example  of  the  artist,  with  remarkable  translucency  in  the  middle 
ground  foliage,  and  a fine  aerial  effect  in  the  far-ascending  mountain  slopes. 

53.  Quail  and  Young.  9?fjn.  xu^in.  By  A.  F.  Tait.  1856. 

54.  Head  of  a Bull  Dog.  n^in.xw^in.  By  Wm.  J.  Hayes.  1856. 

An  excellent  example  of  an  animal  painter,  who,  had  he  lived,  would  have 
proved  the  Landseer  of  America.  (From  the  Olyphant  Coll,  ction. ) 

55.  The  Fortune-Teller.  ,2Hin.  x On  panel.  C.  Maccari. 

A work  of  Roman  genre,  by  a Roman  artist.  The  aged  prophetess,  seated 
in  her  “curiosity  shop”  of  ancient  and  curious  wares,  foretells  by  the  cards 
on  her  chair-arm  the  fortune  of  the  fashionable  lady,  who,  with  downcast 
eyes,  listens  with  an  expression  evidently  not  dissatisfied.  The  face  and  form 
of  the  fortune-teller  is  executed  in  a style  worthy  of  a Flemish  master. 

56.  Flower-Piece.  x n iu.  By  E.  G.  Couder.  1872. 

A gem  from  this  eminent  French  flower-painter. 


64 


WEST  SIDE  GALLERY. 


57.  Vase  of  Flowers.  3 ®In.  By  G.  C.  Jeannin.  1873. 

A fine  example  of  the  new  and  difficult  style  of  color  in  flower  pieces,  so 
much  in  vogue  with  the  artists  of  France.  In  the  hands  of  an  indifferent 
artist  the  prominent  blue  curtain  would  have  been  fatal  to  the  work  ; but  here 
it  is  safely  grouped  with  the  simple  flower  and  the  gilt  vase,  in  one  mass  of 
harmonious  color. 

58.  Fruit.  i^'d.  x 26’i'n.  Saint  Jean.  1855. 

Its  free  handling  and  melting,  juicy  tints  are  in  striking  contrast  with  the 
clear  linear  style  and  moderate  color  of  Preyer. 

59.  High  Bank,  Genesee  River,  soii. x^si'b.  By  J-  F.  Kensett.  1857. 

60.  Snow  Scene — Moonrise.  2I"'iD.  x33h'i„.  By  Emile  Breton.  1873. 

The  ruddy  disk  of  the  rising  moon  glows  through  the  mist  of  a winter  eve- 
ning over  an  ordinary  landscape,  a cottage,  a bridge,  and  some  leafless  trees, 
in  which  turkeys  roost.  Such  are  the  simple  materials,  simply  treated,  of  an 
effective  picture. 

61.  62.  The  Happy  and  Unhappy  Families.  ss * win. 

By  F.  De  Biackeleer.  1852. 

These  beautifully  painted  interiors  are  by  an  artist  of  eminence  in  Antwerp. 

63,64.  Cabinet  Interiors.  s”'.  xioVn.  By  De  Marne. 

These  gems  will  repay  a close  examination,  and  originally  cost  a large  sum. 

65.  Fruit.  mLxnio.  A.  Preyer.  1842. 

66.  Preparing  for  Church.  18Hin.  x J; in.  Ed.  Frere.  1835. 

In  this  early  work  by  one  of  the  leading  genre  painters  of  France  are  seen 
the  fine  perception  of  character  and  natural  treatment  that  have  made  him  so 
famous.  From  the  J.  Taylor  Johnston  collection. 

67.  The  Long  Story.  An  Interior  on  panel.  nui.  x wia. 

By  William  S.  Mount.  1837. 

One  of  the  best  pictures  of  an  artist  who  may  justly  be  termed  the  Wilkie 
of  America,  by  his  close  observation  and  portrayal  of  rustic  incidents,  and 
his  success  in  making  them  essentially  American  in  character. 

It  represents  a real  scene  witnessed  by  the  artist,  who  knew  all  the  char- 
acters in  it.  When  engraved,  it  furnished  the  theme  of  a story  by  Seba 
Smith.  It  occurred  in  a country  bar-room — perhaps  a railway  station,  as  a 
time-table  is  affixed  to  the  wall — and  the  sitting  figures  seem  to  be  taking 
“ something  hot”  until  the  train  arrives.  The  man  on  the  left  with  a band- 
age around  his  head,  a bandana  handkerchief  bound  over  his  knee,  and  a 
crutch  lying  across  his  lap,  looks  rather  like  a hard  character ; an  impression 
confirmed  by  the  “ deck”  of  cards  slipping  out  of  his  big  hat  lying  on  the  floor. 
He  is  evidently  a bar-room  lounger,  and  perhaps  has  called  for  the  purpose  of 
getting  up  “a  little  game  ” with  any  stray  traveller.  The  standing  figure  is  a 
country  doctor,  who  has  dropped  in  with  his  smoking  friend,  and,  directing 
the  latter’s  attention  to  the  lame  man,  makes  a bet  with  him  that  their  rough 
companion  cannot  answer  the  simplest  question  in  a half-hour’s  time.  The 
smoker  then  asks  the  lame  man  whether  the  hurt  on  his  bandaged  leg  is  above 
or  below  the  knee.  The  latter,  at  once,  with  eager  eyes  and  pointed  finger, 
goes  into  a long,  discursive  account  of  how  he  got  hurt.  As  the  half-hour  ex- 
pires, the  smoker  bored,  and  somewhat  serious  over  the  lost  wager,  puffs  his 
smoke  towards  the  narrator,  while  the  doctor  looks  down  sideways  at  him,  and, 
though  his  eyes  are  concealed  by  the  cap,  his  lips  evidently  say,  “Didn’t  I tell 
you  so  ?” 

In  this,  as  in  all  of  his  comic  illustrations,  Mount  never  overstepped  the 
barrier  between  genuine  humor  and  caricature.  He  was  the  son  of  a farmer 
on  Long  Island,  and  was  in  early  life  a sign-painter.  He  had  a studio  on 
wheels,  with  a plate-glass  front,  in  which,  drawn  by  a pair  of  horses,  he  could 
select  any  point  of  view  he  wished,  and  thus  protected  from  the  weather, 
leisurely  make  his  careful  studies. 

68.  Landscape.  x 15"jn  By  Thomas  Doughty. 


SOUTHWEST  GALLERY. 


65 


SOUTHWEST  GALLERY. 


1.  The  Drought  in  Egypt.  A x 7 rL  in. 

By  F.  Portaels,  Belgium.  1873. 

“ How  he  had  wrought  his  signs  in  Egypt,  and  his  wonders  in  the  field  of 
Zoar ; and  hath  turned  their  rivers  into  blood ; and  their  floods,  that  they 
could  not  drink.” — Psalm  lxxviii,  43,  44. 

This  picture  took  the  special  gold  medal,  awarded  at  the  Exhibition  of  the 
Crystal  Palace,  Sydenham,  for  the  best  picture,  without  regard  to  school, 
style,  or  subject,  by  a living  artist. 

Aside  from  the  power  displayed  in  portraying  such  fearful  suffering,  the 
finely  drawn  groups  and  single  figures  furnish  abundant  examples  to  the  stu- 
dent of  historical  composition. 

2.  Source  of  the  Potomac.  A * sTt.  Painted  by  A.  H.  Clements.  1879. 

3.  Portrait  of  Gen’l  T.  L.  Clingman.  W.  Garl  Brown. 

Presented  by  Gen’l  Clingman. 

4.  Sleeping  Children.  3 x j ftH4  in.  Marble.  W.  H.  Rineliart. 

A copy  of  a touching  group  made  for  a monument  in  the  early  part  of 
the  sculptor’s  career,  which  first  called  public  attention  to  his  genius,  and 
led  to  his  being  sent  to  Italy  for  study  of  his  art. 


6G 


STATUARY  BY  POWERS  AND  RINEHART. 


Octagon  Room. 

Greek  Slave , &c. 

1.  The  Greek  Slave.  5rtH-2in.  In  marble. 

By  Hiram  Powers.  1846. 

The  sculptor  of  this  beautiful  work  was  born  in  Vermont  in  1805.  He  went 
to  Ohio  when  young,  and,  after  trying  various  ways  of  earning  a living,  he 
attached  himself  to  a museum  of  wax-work,  and  there  showed  his  genius  for 
modelling  in  wax.  Having  been  taught  by  a German  how  to  model  in  clay 
and  plaster,  his  skill  in  bust-making  soon  attracted  the  notice  of  many  friends, 
among  whom  was  Mr.  Longworth,  of  Cincinnati.  He  came  to  Washington 
city  in  1835,  and  here  his  life-like  busts  of  distinguished  men — particularly 
of  Chief-Justice  Marshall,  now  in  the  United  States  Supreme  Court-room — at 
once  established  his  fame.  Senator  Preston,  of  South  Carolina,  introduced 
him  to  his  brother,  General  Preston,  of  Columbia,  S.  C.,  a gentleman  of  for- 
tune and  refined  taste,  who  at  once  furnished  Powers  with  the  means  of  going 
to  Italy,  and  subsequently,  on  joining  him  there,  befriended  him,  and  in  his 
own  carriage  took  the  artist  for  the  first  time  to  Home  in  184(1. 

In  Italy  the  merits  of  his  busts  were  at  once  recognized,  and  very  soon  he 
displayed  his  genius  in  ideal  works.  The  Greek  Slave  was  his  first  statue. 
It  placed  his  name  at  once  among  the  leading  sculptors  of  Europe,  and  its  ex- 
hibition throughout  the  United  States  was  very  popular.  Five  copies  of  the 
original  have  been  made  by  the  sculptor ; and  though  it  was  followed  by  other 
ideal  statues  of  a national  character,  the  Greek  Slave  has  ever  held  the  first 
place  in  the  estimation  of  his  countrymen.  His  statue  of  Eve  was  also  made 
for  his  patron,  General  Preston.  It  now  belongs  to  A.  T.  Stewart,  Esq.,  of 
New  York. 

Much  has  been  said  and  written  of  over-wrought  praise  and  sharp  con- 
demnation of  this  work.  In  his  own  words,  the  artist  designed  it  to  represent 
“a  beautiful  woman  in  a position  of  humiliation  and  sorrow,  but  elevated 
above  it  by  conscious  faith.  Her  father  and  mother  are  destroyed.  Gather 
all  this  affliction  together,  add  to  them  fortitude  and  resignation,  and  there  is 
no  room  for  shame.”  Whatever  may  be  the  final  judgment  upon  the  work, 
there  is  no  statue  that  breathes  a finer  sentiment  of  purity,  while  its  exquisite 
execution  appears  faultless. 

Mr.  Powers  never  returned  to  America,  but  closed  his  long  life  of  industry 
and  honor  at  Florence  in  1873. 

2.  Bacchante.  Bust  in  marble.  By  Galt. 

This  work  is  by  a native  of  Virginia,  who,  had  he  lived  longer,  must  have 
attained  the  highest  honors  in  ideal  sculpture.  In  early  manhood,  while  in 
the  Confederate  service,  he  died  near  Richmond.  It  shows  a fine  conception 
of  the  subject,  and  the  treatment  of  it  is  simple  and  natural.  The  charm  of 
the  head  consists  in  the  just  limit  which  the  artist  has  put  to  its  bacchanalian 
expression.  Here  is  no  wild  look  nor  leering  grimace  peering  under  a mass 
of  grape-leaves.  A simple  wreath  of  the  vine  crowns  the  lovely  head,  and  a 
subdued  vinous  joyousness  mantles  the  face,  and  shines  in  the  mirthful  eyes 
and  smiling  lips. 

3.  Penseroso.  Bust  in  marble.  By  W.  H.  Rinehart. 

An  early  work  of  this  sculptor. 

4.  The  Veiled  Nun.  Bust  in  marble. 

A good  copy  of  a work  that  shows  how  delicately  marble  may  be  wrought  to 
imitate  the  human  features  under  a gauzy  veil. 

5.  Bust  of  Shakespeare.  In  marble.  Copy. 


SOUTHEAST  GALLERY. 


67 


6.  Genevra.  Bust  in  marble.  By  Hiram  Powers. 

This  was  the  first  ideal  bust  made  by  Powers,  and  was  executed  in  Florence 
for  Mrs.  Preston,  as  a token  of  gratitude  for  the  assistance  given  by  her  hus- 
band to  the  sculptor.  The  name  also  is  ideal.  Powers  described  it  as  repre- 
senting “a  passionless  woman,  a woman  with  a heart  and  soul,  and  all  the 
finer  attributes  of  humanity,  but  unacknowledged  by  herself,  and  not  devel- 
oped by  any  prevailing  expression.”  It  was  modelled  and  chiselled  by  the 
sculptor’s  own  hands,  and  the  face  is  considered  as  having  much  more  latent 
strength  of  expression  than  is  given  iu  most  of  his  ideal  heads.  It  has  been 
somewhat  defaced,  but  not  fatally  so.  The  arrangement  and  execution  of  the 
hair  is  nobly  beautiful. 

7.  Proserpine.  Bust  in  marble.  By  Hiram  Powers. 

As  the  Genevra  showed  the  dawn  of  Powers’  ideal  genius,  so  the  Proserpine 
represents  its  full  meridian,  as  it  was  made  twenty  years  after  the  former,  and 
sent  as  another  testimonial  of  gratitude  to  Mrs.  Preston.  It  is  a duplicate 
of  the  Proserpine  in  the  possession  of  Mr.  Carey,  of  Philadelphia,  with  this 
difference,  that  the  latter  represents  the  lovely  bosom  imbedded  in  tube-roses, 
in  keeping  with  the  story  of  Proserpine  when  Pluto  found  her 
‘ ‘ Gathering  flowers, 

Herself  a fairer  flower.” 

The  pedestals  of  both  busts  were  designed  by  Mr.  Powers. 


SOUTHEAST  GALLERY. 

1.  Endymion.  4 ft.L  in.  x 2 a.”' in.  Marble.  W.  H.  Rinehart. 

One  of  the  many  versions  of  the  story  of  Endymion,  the  young  herdsman, 
is  that  Zeus,  (Jupiter,)  his  reputed  father,  gave  him  immortal  youth  and 
eternal  sleep.  Enamored  of  the  sleeping  boy,  the  Moon  (Selene)  had  him 
conveyed  to  Mount  Latmos,  where  she  could  privately  gaze  upon  and  kiss  his 
unconscious  cheek.  To  illustrate  this  fable  the  sculptor  has  given  us  a 
comely  shepherd-boy  stretched  in  repose  upon  a sheepskin  covering  a sloping 
rock.  The  careless,  easy  posture  of  the  limbs,  and  the  expression  of  calm 
repose  of  the  perfectly  modelled  form,  stamp  this  work  in  the  estimation 
of  many  as  Rinehart’s  great  master  piece.  It  was  executed  in  1874. 

2.  Youth  as  a Butterfly.  6"'.  E.  Caroni,  Florence. 

The  Italian  catalogue  of  the  statuary  in  the  Annex  building  of  the  Centennial 
states  that  this  statue  represents  “ first  youth  in  the  form  of  a butterfly,  which, 
while  flying  over  the  pleasures  of  life,  is  entangled  in  a net  that  awakens  to 
Reality.”  The  graceful  poise,  startled  look,  and  delicate  limbs  of  this  figure, 
combined  with  elaborate  execution  of  the  flowers  and  net,  make  it  a notable 
example  of  the  picturesque  style  of  the  modern  Italian  sculpture.  Caroni  is  a 
native  of  Switzerland. 

3.  Forced  Prayer.  2ft.”'om.  P.  Guarnerio,  Milan. 

Though  verging  upon  caricature,  the  sculptor  has  made  it  a general  fa- 
vorite, by  skilfully  relieving  its  serio-comic  suppressed  grief  by  the  winning 
sweetness  of  the  child’s  form  and  folded  hands. 

4.  The  First  Step.  2ft.H5in.  Trombetta,  Milan. 

Both  child  and  chick  are  evidently  making  their  first  start  in  life  together. 
The  nest  and  empty  egg-shell  in  the  rear  must  not  be  overlooked. 

5.  Portrait  of  Mrs.  R.  C.  M.  Page.  5 rt. L,.  x s f A in.  G.  P.  A.  Healy.  1859 

Presented  by  Dr.  R.  C.  M.  Page. 

6.  Old  Portrait  of  a Lady.  Subject  and  Artist  Unknown. 


G8 


SOUTHEAST  GALLERY. 


7.  Autumnal  Landscape,  with  Indians.  36hi.  x sTin.  By  A.  Fisher. 

This  artist  once  held  a high  position  as  a landscape  painter,  and  had  a 
good  eye  for  color  aud  poetical  feeling  in  his  pictures. 

8.  Castle  Gondolfo,  Lake  Albano.  36  a>.  x 54'in.  By  C.  P.  Cranch. 

9.  Portrait  of  a Child.  "5X3o;  A.  B.  Durand.  1835 

Presented  by  Mrs.  W.  J.  Stone. 

Interesting  ns  a specimen  of  the  veteran  laudscapist’s  work  as  a portrait 
painter  in  his  early  career. 

10.  Reduced  copy  of  Raphael’s  Portrait  of  Dante,  from  the  original 

by  Miss  Mary  E.  Williams,  and  presented  by  her. 

■ni.xioHin.  Rome,  1882. 

11.  Portrait  of  President  George  Washington.  sa.  win.x5ft.W2m. 

Copied  from  Gilbert  Stuart’s  portrait  by  his  daughter,  Miss  Stuart. 


